Dorico: Complete Music Notation Course

1. Dorico: Complete Notation Course Introduction: Welcome to Dorico, the Complete Music Notation Course, a 12 part video course designed to teach you how to engrave music professionally. In this course, you'll learn everything from the basics of note entry to advanced score layout. We'll also cover numerous tips and suggestions to make engraving music faster and more precise. My approach is to clearly and concisely show you how to create a variety of musical documents that have real world applications. This approach will give you a modest portfolio of projects that you can use as references for your specific needs and interests. We'll make scores for solo instruments, piano chamber ensembles, percussion and orchestra. We'll work with graphics, typography, and custom page layouts. We'll also cover audio topics in Dorico's play mode. Get started today and learn how to engrave music like a professional. 2. Lesson 1: create an excerpt for solo violin: In this first lesson, we're going to learn how to navigate the Dorico interface and make our first project the theme from Caprice number 24 for solo violin by Nicolo Paganini. Let's get started. After installing and starting up Dorico, you'll be presented with the Steinberg hub. Click on the Create new button to see a variety of templates Dorico offers. But instead of using one of these templates, we're going to go to file New to open the new project dialog window. If this is the first time you've started Dorico, you may get a what's new Guided tour. You can always access a guided tour at any time under the Help menu. Click Guided Tour, Dorico will walk you through some of the features of the interface like the panels and whatnot. For now, I'm going to finish that tour and get back to setting up the project. Since our first project is for solo violin, we will click the Ad single player button. And then in the search dialogue we're going to type violin, press return will add a violin to our score. I'm going to maximize our screen here. By default we're in set up mode, which is where we add players, instruments, layouts and flows. We will learn about all these different features in subsequent lessons. For now, let's switch modes and prepare the document for not entry. Click the right button up here in the upper left corner to switch to right mode. You can also use the shortcut command two. You'll notice that the panels on the left and right side of the application change depending on which mode you're in. We can now start entering notes, but before we do, let's modify the document to make note entry a little easier. First, let's add a time signature. Click the staff, the quarters should turn orange, and then type shift M. This brings up something called the time signature popover, type 24. Then press return that will input a 24. Time signature popovers are unique to Dorico. They are designed to help you quickly add various items into the score. We will be using them extensively. A full list of popovers can be found here in the right menu. Like most programs, Dorico offers multiple ways of achieving the same result. We can use the mouse and the application panels over here, or we can use keyboard shortcuts. The keyboard shortcuts are usually much faster and more powerful. For the most part, I'll be using the shortcuts and I encourage you to do the same. The faster you learn them, the faster you'll be at using the program. Shortcuts are for power users, let's start using them. Having said all of that, here's how you can input the time signature using the mouse and the right side panel. I'm going to undo what I just did, command Z, then I'm going to click the staff again to make sure that I have my court arrest selected. Then I'm going to go over here to the button here in the panel. And then I'm going to click the 24 time signature to input to add a key signature, click the staff to select it and then type shift K to open up the key signature. Pop over. The piece is in a minor, and Dorico recognizes upper cases major and lower case for minor, which means we don't have to type out a minor, just a lower case A, like this. And then press Return to commit that you should now see this signpost that says a minor. We can hide or show signposts in the view menu. If I go up here to view signposts hide, just remember where that is because you may want to see signposts to do different things. What's interesting about signposts, I'll turn these back on, is that I can double click on it and then change that information. I could change the key from a minor to whatever I want once the sign post is in there. But I'm going to hide the signpost for now. To add bars, click the staff again. We just click to select it. And then I'm going to type shift to bring the bar pop over up type 11 and press Enter. Now we have 12 measures in the piece. You don't need to add bars to enter notes. But for most circumstances, it's visually just easier to see the empty bars in front of you as you work. These gray rectangles up here above the measures are called the system track, which is on by default. It's quite useful for several things, but we won't be using it for this first project. I'm going to turn it off so that they aren't distracting. And I can see the staff more clearly. The keyboard shortcut for this is option. If you're on a Windows that's Alt. By default the program displays the document in page view, which is what we have here. To change to Galley view, which lays the music out horizontally, go to the View menu and simply select. View, and then we'll get something like this. Galley view offers some advantages to note entry that will become apparent in later lessons. For now, it really doesn't matter which view you use to enter the notes and feel free to switch between them depending on the situation. But for the most part I'll be using galley view and page view for later editing. Zooming in and out is keyboard shortcut, Z for zooming in, and X for zooming out. The gray bar numbers you see here are on. Again, by default they're great for navigating to a place conveniently. But again, if you don't want to see them and they're getting in your way, you can go up here to the view menu and go to bar numbers. And where it's ticked, you just untick it and now they're gone. I'm actually going to turn them off so that we can see a little bit more clearly. Now we're ready to move on to inputting notes. We need to invoke the note input carrot, which we can do by double clicking the staff. Or with the staff element selected, we can simply press Return To exit out of the note input cat, press Escape with the carrot. Showing though, we can now input, press the number for the rhythmic value, four is a 16th note. If you look at your keyboard on the top number row, if four is 16th, then that means five is eighth note. You can hover over the panel here on the left side to see which number corresponds to what. Six for a quarter note, et cetera. And then of course, all you need to do once you have that rhythm selected, is to press the letter key on the keyboard. If I press five eighth note and then A, I'm going to get a eighth note. By default, the note should appear on the second space of the staff, which is where we actually want it to input the 16th rest. We're going to press the number for that rest, in this case four for 16th. Then I'm going to press the space bar. You notice the Carrot moved a little bit to the right. Then when we enter the next note in a 16th, I'm going to leave the 16th selected and press A again. Notice how the 16th rest appears. We can also enter notes using the Midi keyboard. The process is the same. We play the note on the Di keyboard instead of the computer keyboard. For example, the next four notes are 16th, A, B, and A. Press four on the keyboard to make sure the 16th rhythm is selected. And then with our carrot invoked, remember to do that. I select the rhythm or the rest rather. And then I press Enter. I'm going to, again, make sure I've got 16th selected by pressing four, and then I can play those notes on my Met keyboard. I'm going to do A, B and A. Alternatively, you can use Pitch before duration. To turn this on, click the icon looks like this eighth note with arrows going up and down the keyboard. Shortcut for that is K. With this option selected, you can now play a note or on your Di keyboard, then choose the rhythmic value. When you choose the rhythmic value, that's when the note will be entered. Notice if I bring up my carrot, that as I play on the keyboard, the note carrot is gray. That indicates what is about to be entered. I could do a single note like a, B, or C, or I could do an entire chord like major, major, et cetera. I'm going to input the next bar using this method. With the carrot invoked and pitch before duration turned on, I'm going to press on my Miti keyboard. Then I'm going to press five, which will input the eighth note. You'll notice that we need to input a 16th rest from the original. But how are we going to do that? Using this method. If we press the space bar, going to move the carrot by a full eighth, because my previous value I input was an eighth. If we input, press four for a 16th, it's going to input the note instead of moving the carrot. What's going on here? I'm going to undo that and go back to where we were. I will select this. Now we can start talking about the rhythmic grid. Notice here, when I invoke The Carrot, there are these orange vertical grid marks above the staff. These represent the rhythmic grid which corresponds to whatever rhythm I have selected. You can find that in the far low left corner of the application window down here. Right now it's set to eight. That means those grid marks are going to go every eighth. I need to change that to 16th since that's a lot more convenient for the rhythms that we're working with. Notice that the grid now changes and they are grid marks for every 16th in the bar. This is a really important feature and helpful to know because now we can move along the grid with our left and right arrows and input notes in those specific spots. Instead of inputting arrest, we can simply move along the grid to the fourth 16th of beat one. Input the notes as a 16th. The 16th rest is going to appear because I'm essentially filling in, or Dorico rather is filling in in between them. I press for to input that 16th in that fourth spot and the rest appears as it should. There will of course be instances where we need to force a specific rhythm or rest. But in general, inputting notes this way is quite fast and efficient, and that's my preferred method. I'm going to go ahead and input the next couple of bars by playing each note on the keyboard. And then I'm going to press the rhythmic value on the keyboard, on the computer. Again, for the rest, I simply move over them, along the grid using my left and right arrow keys. The next group of notes is, and then sharp, whoops, I put in an eighth. Undo G sharp four. Here I put in my eighth. I'm going to skip ahead to the 16th rhythm at the end of beat one, because my grid is set to 16th, all I need to do is push the right arrow and it's going to advance to that position. And now I can select A and press four. Keep going here. Now I've got a quarter note, that's going to be six. Then down to the E, which is that's five. Then the eight rest appears all by itself. You can input notes using the mouse. I'll show you how to do that here. And measure five. I'm going to invoke the carrot. My pressing return then remember we had pitch before duration selected. We need to turn that off, otherwise it would create problems with that off. You'll notice this left panel has these different rhythmic values. Make sure is open. If I click this top button here, it will open or close that panel. I need to select the correct rhythm. I need an eighth note for our downbeat Here, I'm going to go up to the A. You'll notice it is in gray there. Click it, inputs my note, the carrot advances. The amount of rhythm that I've input, it actually doesn't matter where the carrot is. When you're using the mouse, you notice how slide back and forth, it snaps to the grid. That's one of the advantages of the grid. Now all I need to do is select correct rhythm over here. Next one is a 16th. Bring that back over. And then I click to input that note where it needs to go. Then the next note is A. The next note is a B flat. I'm going to load the cursor, or the rhythmic value with a flat. See how it's in blue. And now when I click the B flat appears, it automatically turns off so that my next note would not be a flat, which is what I want. Then finally, I click the New to Dorico five is the ability to move notes with the mouse in Dorico four and earlier if you wanted to move a note, you'd have to select it and then use the keyboard shortcuts to then move that note right up or down in Dorico five, you can now click on a note and then drag it up or down wherever you need it. You can also drag it left or right. Then you notice it follows the grid wherever you have set nice new feature in doc five. It may seem like this method is pretty fast and intuitive, but I cannot stress enough how important it is to avoid using this method for note entry. It really isn't as fast or as the other methods. You're constantly going back and forth with your mouse clicking in the panel, or using keyboard shortcuts for rhythms and then clicking. But it's just an inefficient way of working, especially if you have a med keyboard. If you have a media keyboard, use it. If you don't have a media keyboard, it is actually still faster to use the carrot and to input notes using the letters on the keyboard. It may seem really unintuitive at first, but if you spend a little time practicing your keyboard, inputting will speed up tremendously whether or not you use pitch before duration, or duration before pitch, which we showed a little bit ago. A personal preference. Actually, some situations are better suited for one over the other. But regardless of how I get the notes, before duration or after duration, I always use the keyboard, and I never use the mouse. Dorico, by default, enables note input using the mouse. So that when we click the carrot, and then I've got this note loaded on my cursor. This is a setting that we're going to change in Preferences. It's on by default, but I recommend that you turn it off and it's visually distracting. Let's go in and change this in Preferences. I'm going to hit Escape, just to get rid of that. And then command to bring up the preferences, or I could go up here to Dorico and preferences on Windows, I believe you have to go to file. And then at the bottom should have preferences there in Preferences. We're going to go to Note Input and Editing. Notice here in these dialogue windows, these are for other settings as well. I can actually type in a search. If you can't remember which one of these side categories you need to be in, you can search for the exact item you want. And then do a search for you, which is very handy, but note input and editing is where we need to go. Then we're going to scroll down a little bit, and you notice here it says by default, enable note input using the mouse. We're going to turn that off. I'm also going to turn off playback so that we don't have to hear each note as we input it into the score. This is right here in the same spot, Play notes during note input and selection. I'm going to tick that as well and apply those and close them. Now you'll notice when I have my carrot, I still have the gray noted here. And if I were to click it would put the note in. Didn't play any sound because we made that change. But you're wondering maybe why this is still there. I'm going to undo that. The reason is we didn't click up here and have the select tool. When you have the select tool, which is what I have active pretty much all the time, even with the carrot, there is no note loaded on my cursor. Now I can go to my keyboard and I can input notes that way, or I can do K and have pitch before duration. I've left playback on my keyboard active, so that I can play notes, hear them, and nothing gets input. Then when I've made my decision, then I simply click a rhythm and the note comes in. This is the way I work most of the time, and I find it the most efficient and friendly for my methodology. Again, if you want the cursor loaded, you can do that. All you have to do is make sure to uncheck or unclick the selector icon, and now you've got the note loaded to speed up note entry even more, you can copy and paste. There are several ways of doing this. I'm going to show you two methods. For the first method, you can click and drag to select a region of notes. Make sure that the marquee tool is selected. Down here at the bottom of the application window. If the hand tool is selected and I click and drag, you'll notice it just moves the window around with marquee selected. I can now grab a certain number of notes. That's very similar to a word processor or other programs you've used with the marquee tool. You can also click to select an entire bar. If I click anywhere other than a node itself, let's say just in the middle of the staff, it will select the entire bar. When I've clicked something, hold down Shift and click the next bar to add that to my selection. This is a very handy way of selecting multiple bars and not having to click and drag And make sure you get the window just right. You can just click and then run across and click some more. Now I can grab anything. I want command C to copy and then command past to paste it again, just like a word processor, another method is to select something and then hold down option or alt on a PC. As I'm holding that option button down, then I can simply click wherever I want and that music will be duplicated. Just be careful when you do this that you're rhythmically where you want to be because there's nothing visual here. If I migrate to the middle of the bar holding down option and then click, notice that Dorico inputs it roughly where my cursor was. This method is great, but just be you need at the beginning of the bar, make sure you're far left over. Otherwise you'll copy it in the middle of nowhere. Copying and pasting music can save a lot of time. If the music features similar rhythms throughout, you might find it faster to copy paste, Then simply change the notes as needed. For example, bar six has different pitches than bar five, but the rhythms are exactly the same. You could copy, then paste bar five into six, and then select the first note in bar six, then move the A down. Using the keyboard shortcut option down arrow on Windows, that'd be Alt arrow. I can use my left and right arrows here to select these different notes and simply move them as needed. I'm going to take these down to the D. B flat will go down to then D like that. We have an even faster approach, which is to use a feature called lock to duration. The key command for this is L. When I have my cursor in place, I press L, you'll notice that it turns into a dotted line. The way this works is I can copy some material. Let's say I copy this bar. I just command C and then paste. And you'll notice that the next bar, bar six, has the exact same rhythm as bar five. If return and then L. Now I've got locked to duration set. Now I can play notes on my keyboard and Dorico is going to replace the notes that I play with the currently there, and it's going to match the rhythm. Exactly. I can play D, E, and D. I'm actually going to speed the video up here and just input a bunch of notes. I feel like you're empowered enough to do this on your own. You've got enough shortcuts and guidance. I'm going to continue inputting notes and speed the video up here. Next we're going to input dynamics, articulations, and the rest of the markings for the piece. Before we do that, I need to change this flat, which Dorco did by default. I played flat or D sharp on my keyboard and Dorco chose flat to change that all I need to do is hold down option and then type the hyphen and that harmonically re spells the note. If it was D sharp and I did option plus sign it would go up to flat. Same just spelled differently. Notice also that Dorico automatically puts a natural sign in as a courtesy here for this D in the same. Now that all of that looks like the original, let's go back to the beginning. The first thing we're going to do is enter the dynamic at the beginning shift D, I'm going to select this, Shift D will bring up dynamic pop over and I can simply type and press Return. And that's going to put in a piano to add a slur. I'm going to hold down Shift and I'm going to select the group of notes that I want to include in that slur and then press to put the slur in. I can also, with the note selected, use the panel that will put a slur from note I has selected to the next available note. If I wanted a slur for let's say this whole bar over all these notes again, I can select all of them and then click this button, or I can just use, which is a much faster keyboard shortcut. Let's say I don't need it for the whole bar and I want to move it back to this note. Simply click and drag the end to move it to where you need it. You can also click right in the middle of the slur and move the whole slur again. Dorico will snap to notes intelligently. As you go to input a staccato, select the note and press the right bracket. Notice that it becomes blue over here in the panel. That means I've selected a note with a staccato on it, and it also shows me the shortcut. This is very handy. Again, I could, if I undo this, select my note and go over here with the mouse, click it to insert a down bow. I need to select the note that I want to put the down bow on. I'm going to use something called a playing technique. Dorico has these different techniques associated with certain instruments, like string instruments, bras, et cetera, and there are several defaults. Bring up the pop over for playing techniques with shift P and I'm going to start typing down bow, and you'll notice it comes up as an option. When I select that, I now have a playing technique. It's much faster to do it this way if you know what the shortcut or the phrase is or what tool to use. If you don't know the tool to use, you may want to go over to the panel and search for it. Honestly. Sometimes is faster because if you don't remember exactly where something is located or what it's called, you may just go over here. See the downbow symbol right here? It's a clue. Now you can see I have different categories. Common things that are used a lot. I've got category for wind, brass, et cetera. And the string section has various symbols including our downbow. I can just grab that load. My cursor, you can see how it's in there. And then I can click and play it. I can also select a note and then go over to the panel and apply that to the item that I need. I do use the panels for things like this when it's a one time deal or it's a symbol I don't use very often and I can't remember exactly what it's called. But once you get familiar with popovers, I can do a down bow, but I could also do an up bow with a few clicks. I've got my symbol in the computer and I don't have to search for it. Going back to the beginning shift, for the tempo pop over and we're just going to type in quasi presto and press return. And that comes in. Dorico by default has a font style and weight applied to these type of items. We can change all of that and customize it, which we're going to do in a later lesson. But for now the defaults are perfectly fine. Let me jump to the end here. We need accent on this note, the accent is left bracket. All the markings that need to be input. We already know how to do slurs and staccato. I'm just going to quickly work through these again. I can also click a beam to select those notes. Press for slur. This goes pretty quick once you know the keyboard shortcuts and you know how to navigate the score, inputting these markings can be very quick. There are even faster ways where you can select certain items and filter out markings and then paste them, and I'm going to show in a later video. For now, I'm just going to quickly work through these. Also, I could have applied these articulations and then copied the notes. That probably would have been much smarter then when I did that speeded up note entry. Having all the markings in place already would have saved me time doing it this way because I would have copied all of those markings over and then just changed the notes. This is not the way you should do it, but we're learning and going through it more methodically. Anyway, a couple bars left, there's one other item we need to put in which is repeat sign, and we're going to do that in 1 second after we get these markings in this slur was only these three notes, I'm just going to click and pull that back. I was using the mouse there to move through it. You could also, with your arrow keys, move between items. As you notice, Dorico is smart and knows that you have a slur selected. When you do left or right arrow, it's going to go to the next available item of the same type. If I don't want to do that and I want to move from notes, I can press Tab, the keyboard. And that will move down to the notes or a different item like dynamics or something, whatever is there. Now I can move between the notes and rhythms. Let's put in that repeat sign. This is at the end of bar five. To do that, I select the bar line. I can use the bar, pop over and do a colon. Then the pipe symbol that brings up a repeat sign. I can undo that. The other way to do it is with the bar line selected. Go over here to the bar line types, and then I can simply grab the one I need. Click it there, and it goes into the score. Now that everything has been correctly placed, the last thing to do is format the score so that it will match the original. We're going to return to Page View If we go to View and then Page View or I'm actually not going to click that, practice the keyboard shortcut command option. That would be control alt one on a PC. That'll bring up page view. To get rid of the violin staff label, we're going to go to layout options and we can get that in library Layout options. Notice the keyboard shortcut, shift command L or shift control L here in layout options, we're going to go to Staves and Systems and then we're going to go to Staff labels where it says staff labels on first system select none, then on subsequent systems also select none. And then we're going to apply and close. We also want to change the page and space size. The space size determines how big the staff is. We'll go back to layout options. Somebody use the keyboard shortcut this time. Command shift L. This time we're going to go to page set up, and then here where it says Rastral size, we want to set that to four, make it slightly smaller. Click Apply and then close that very nicely shifts it to two systems. The last thing we're going to do is change the title of the Flow. We're going to change the project title and we're going to add a composer's name up here. Go to file Project Info or command I to bring up this dialogue. Change the title to assignment One. Then for the composer name, notice that his name has a diacritical mark over the O. It's an accent grave to get that in a Mac press option. And then Tilda, the diacritical appears and then press the letter you want to appear under it in this case, and then keep typing his name on a Windows machine. You need to use the character map to search for that letter with the accident on it. Or if you know the alt code, it's a four digit code, you can type that in. A quick Internet search would find that. Then we need to change our flow title to theme. When I click Apply, notice how it changes all of that for us and it looks really good. We're done at this point. We're ready to move on to some new things in the second lesson, which will actually work with this same document. I'll see you there. 3. Lesson 2: add two variations to project 1: Welcome to lesson two. We're going to expand on our first project, the Theme from Paganinis 24th Caprice. We're going to add two variations and work with some layout features unique to Dorico. Let's get started. I have our first project open assignment one, and I'm going to immediately save it as assignment two so that we don't actually save over our first project command shift. I'm just going to go up here and assignment two. And then save that while we're at it, let's go ahead and change the project title. I'm going to open the Project Info panel with command or control. Then I can change the title to assignment two. This panel, as we've already touched on a little bit, has a lot of powerful features with renaming the project and Flows and things like that, but we can also use it to add flows. I'm going to explain flows in detail later. But first, let's add two flows by clicking on the plus icon. Down here in the lower left, you'll see new flow one and new flow two. I'm going to rename these flows by using this tool right here, the rename flow for the first one. I'm going to title it variation one or VA period one. I'll do the same for the second one, VR period two. Close. You'll notice now that I have three flows on the document. We have our existing theme over here on this first page. And then you can see our second flow variation one and our third flow variation two. We can also add flows in set up mode over here, and I'm going to show you how to do that in a later lesson. What are flows? Think of them as movements in a symphony or other multi movement work. The new movement may have a new title, key tempo, et cetera. And we want each movement to be separate from the others. This separation of musical material is what flows are all about and what makes them so powerful. In this simple example, we are using three different flows to separate the theme and first two variations. We could achieve this separation in one flow using many manual overrides. But as you'll see, the way that Dorico handles flows is extremely powerful and will save us a lot of time. By default, Dorico places new flows onto their own page. We obviously need to move them all onto the first page. We will change how they're laid out in a bit. But first, let's enter the music. Based on what we learned in the first lesson, there aren't any new note entry challenges except for a few new elements, grace notes, tuplets, and staff text. Let's start with variation one by changing to galley view. Then we're going to go over here to flow to zoom in a little bit, we're going to add a 24 time signature shift for the meter pop over to four. And then we're going to add 11 bars like we did in the first lesson, shift B 11. Now we've got our flow to enter some music. To enter Grace Notes, Invoke the Carrot. I'm going to click into my staff and press Return. Then press the forward key. Notice that the carrot becomes a little smaller, and that indicates we're in Grace Note Entry mode. You can also click the Grace Note button over here in the left panel. I'm using Pitch before Duration, and my medi keyboard, which means I play the pitch, then press the computer keyboard number for rhythm. In this case a four for 16th, then four again. To turn off grace note entry, just press the forward slash key Again, there are a few ways of entering tuplets in Dorico, and we'll cover those methods in a later lesson. For this lesson, we're going to enter the notes as regular eighths, then change them in triplets. With insert mode, I'm going to invoke my carrot. I have pitch before duration. Now I can simply play these notes as they come in. Now select the first three eighth notes and then turn on Insert Mode with the keyboard shortcut I. You'll notice you can also turn that on here in the panel. Now press the colon or semi colon key. To open the tuplet popover. Since we have three notes selected, the pop over suggests that we want a ratio of three to two. If we press return, the three eights will become a triplet. Go ahead and press return, and notice the triplet is made, and the notes to the right of the triplet move backward to fill the rhythmic space. This is because we have insert mode activated. Insert mode essentially takes all the rests out that would normally appear. If I do this again. I'll undo and I will turn Insert Mode off. I'll just press I. Then I will bring up my tuplet and press Return. Now you notice that the other eighth notes after the triplet stay where they were originally, and then eighth rest appears in between with insert mode on. We can avoid that problem. I'm going to turn insert mode back on semicolon and I'm going to do the same thing here for this next group of three notes like the theme. This first variation is quite repetitive. Let's practice copying pasting and then changing the notes. Since the articulation is the same in each bar, I'm going to apply the markings to the first bar so that when I copy and paste, the markings will transfer. I need a slur from the first two grace notes to the first note, and then an accent, but I'm going to select all these notes. I did that by clicking this note, holding down Shift, and then clicking the last note, shortcut first staccato. And then click the beam to select three notes. And hit S for slur. With the markings added, I'm going to select the entire bar by clicking in the Staff. Now I could copy and paste the selection, but I could also press the R key, which will repeat whatever I have selected. This is a useful feature to speed up note entry. Now with the music copied into the second bar, I need to change the pitches. I can either use the shortcuts option up or option down for moving notes up or down. Or I could use Lock Duration and play the notes with the Midi keyboard. I'm going to go ahead and do Lock duration. Click the first note, press Return to bring up the Carrot. Notice the two wings on the outer edge of the carrot. That's because I still have insert mode on. I don't want insert mode on right now. I'm just going to turn that off by pressing high, then I want Lock. And if I started right now, you can notice it would start with this eighth note. I want to actually start on this grace note, so make sure you have the grace note selected, and now I can play those notes in for bar two. Might as well go and turn bar numbers on in Gala view, so we can see which bar numbers are which. I can click that. And now I can see bar five here, which is right after the repeat. We need the word rest on the C sharp right here. You'll notice in our original that there is a C sharp. Visually here, it's courtesy. How do you turn on a courtesy? You need to show that accidental using the Properties panel, which is a new panel we haven't talked about yet. If you go down here, you can see this panel at the bottom of the screen. And if I click that, you'll see a host of options available. The shortcut for this is command eight to hide or show it with that note selected. You can see here Accidental. I can toggle that on and then click Show. That will force a courtesy accidental right there. Shift x and that brings up the text. Pop over. You can see have a bunch of different features here for inputting text. For now all I'm going to do is in the word R, E, S, T, E, Z. Select all that and make it italic. Now it matches the original hit escape to close that window, and now we have our text. Now in variation two, we just need to input more notes. I've done all of it. I'm going to do the first bar for you, so you can see the pattern. It's pretty much the same in each bar, with a few small exceptions, but pretty straightforward. We've got some 16th notes here. And then another set of 16 notes preceded by a grace notes, again the slash key, or the question mark key. And then input our pitch on the keyboard. If we're using pitch before duration, which I am. And then five for an eighth note, you notice it comes out as an A sharp. I'm going to change it to B flat in a second turn. Grace notes off and then play the rest of my notes in it escape it adjusted it for me automatically. Dorico understood the context of the music and changed it for me, which is great. I'm going to put in my piano dynamic shift D, press return, select the first and last note of the bar, press to put a slur over everything. And then we need another slur between the B flat and the A right there. Then for this first A in this grouping, we need an accent, which is left bracket. I've duplicated each bar and then changed the notes using our various methods that we've been talking about. Let's switch to page view option command one. And you can see are three flows laid out on separate pages. Let's change that by going into layout options. Shift command L. You see here under page set up, it says new flows always start new page we want it to allow on existing page. If I hit Apply, almost all of the music fits. I can make it all fit by changing another setting. In layout options, what I'm going to do, go down to vertical spacing and change the intersystem gap. That's the distance between each system. On the page 10-8 I notice I make this change. The Apply button was graded out. All you need to do if you make a change like this is to make sure to click out of the text box so that it will recognize the change. And then hit Apply Magically, everything's now on one page, it looks really good. The only other thing I want to do is get rid of this number on the flow title. I also want to slightly change the size of the font and have everything left aligned. To do that, I'm going to go up here to Library Paragraph styles. Right here it says flow title. I want to change the size of the text to 12 point. Then we go down a little bit to alignment and change that to left the line and press Okay, that looks good. Now I need to get rid of the number by default. If I switch over to engrave mode or command three, you'll see I've got these different page templates. By default, the flow headings is probably not open on your computer. These are the default formats for the score. They also have a default for flow headings. This document here is what's called a master template and it's applied to all the flows by default. And we can change that or create another one. For now, we're just going to go in and change one thing. Let's double click. You'll see here there are two items, flow number and flow title. These are called tokens, and these are a powerful way of communicating information across the document, and it's very handy for certain things. We're going to talk more about those in a later lesson. For now, I actually don't want the flow number showing. I'm just going to double click in this box, grab all of this, and delete it. So that now Dorico is only going to fill the flow title for each one of our flows. Click out, then I can apply those changes. Close that and you'll see the numbers have disappeared. Switch to view or right view rather. So I can see all of this nice and clean. One thing I want to do is view the whole page in one shot. And the shortcut for that is option command zero. That looks really good and I think we're done with this assignment. 4. Lesson 3: create a lead sheet: Welcome to lesson three. We're going to create this lead sheet which contains lyrics, chord symbols, and repeat signs. Let's get started by creating a new empty project and adding a solo player. We're going to do command to get a new project window. Add single player and just a generic voice type will be fine. We can add that there's our new project. I'm going to maximize the window here and get out of set up mode and move to right mode to get ready to start putting in some notes. With our document set up, we're ready to start in putting some notes. I'm going to turn off the system track up here. I don't need it for now, so I'm going to do option and I'm going to switch to galley view option command two. Zoom in a little bit. Now the first thing you'll notice about the original document is the pick up to bar one. To do that we're going to bring up the meter or time signature. Pop over shift M, and then I can type 44, that's our time signature. Then space one, the coma indicates a partial bar. In this case, one of four beats will be added to the beginning of the music pressure return. And you'll see the sign post there indicating that we have a quarter note pick up to this 44 bar. Let's also add the number of bars we need 15 bars in total, shift B type 15, and enter those. Let's go ahead and change the key signature to major K capital. And it's looking pretty good. Now, I'm going to turn signpost off just so I can get a better view. Remember that's over here in the view menu. Sign posts, hide signposts. Now, after the first two assignments, we should be fairly comfortable with entry. I'm going to go ahead and jump right in and start entering some notes. I'm going to press K so that I can preview the note before I play it, then commit that with the rhythm. Six quarter note, I'm just going to keep going here. Bar three, you'll notice that the second beat is tied to the beginning of the third beat. There are a few ways to input ties. I can enter the quarter note that I need in this case. Then I can press which turns ties on over here in the left panel, and then enter my next note, which is an eighth note. I can also get the link that I need pressing on the keyboard, Then pressing the period key, which would make this a dotted quarter note. And then press six, So that's a dotted quarter. And Dorico treats the dotted quarter value as a tied note to show the middle of the bar. Another way is to enter a quarter note right here, then an eighth note, and then exit out of the carrot. Select that first and press to tie those two rhythms together. To remove a tie the U key will do that for you. I'm going to delete that and show you yet another way, which involves another keyboard shortcut that you're going to be using quite a lot. The shortcut lengthens the value of whatever note you have selected by the rhythmic grid. Right now we have an eighth note selected, which means if I input an as a quarter, then select this note, I can hold down my shortcut which is shift option, left or right arrow on a PC, that's shift alt, left or right arrow. I could go from a quarter note all the way up to a dotted half over the bar to a quarter very easily by just holding down those keys left or right arrow. I can also use the shortcut to lengthen or shorten slurs. For example, let's say I put a slur here and I wanted it to go up to the. I could of course, grab this and drag it with my mouse or with this right part of the slur selected, I can use my keyboard, shortcut shift option, right arrow, and extend the length of the slur. Starting in bar ten, you'll notice that there are several tied notes across bar lines and across the middle of the bar. The fastest method to enter these is probably to enter the first rhythm, then press and then enter the second rhythm. Way you don't have to leave the keyboard and grab the mouse and deselect anything. Anytime you can stay on the keyboard, the computer keyboard, the faster your note entry will be, that's the method I recommend. And I'm going to go ahead and start inputting some notes and get this document filled out. There's really nothing new here. You should be able to do all these notes with the practice you've done so far in lesson one and lesson two. Now that all the pitches and rhythms are in place, let's go back to the beginning and input the lyrics. Select the first note and press shift L for the lyrics pop over. By default it's set to verse one. To change to verse two, press on the arrow key. You can keep going down for additional verses. If you go up above number one, you'll get the chorus. We only need verse one and verse two For this project with the pop over open and the verse selected, type the lyric for the first word, and then press the space bar to advance to the next note. Notice that Dorico skips over rests automatically. It will only put lyrics in four notes. To enter a hyphenated word, simply type the first syllable and then press the hyphen key. Then the next syllable has three notes under a single slur called a melisma. We type in that syllable and then press the space bar to create a word extension. Lyrics are always hyphenated according to the dictionary. Easy way to look up the hyphenation is to use Google type define followed by the word you want. Google will show the hyphenation with a dot between each syllable. You can also look up the word in an actual dictionary. If you happen to have such a relic input the second verse, go back to bar one. Select the first note and invoke the lyric popover shift L. Press the down arrow for verse two and then input the lyrics as before. I'm going to let you input the rest of the notes and the lyrics to input chord symbols, select the note you want, then invoke the chord symbol. Pop over with shift Q. Then type your symbol, in this case capital, and press return. And then for measure two, we need seven. Then for bar four, we get again, here on the downbeat of five, we have B flat type, capital B, and then lower case B. Dorico recognizes that lower case B as a flat symbol here in bar 11, we need the court symbol to appear right on the downbeat. But when I select this note, both notes in the tie chain are selected. If I bring up the pop over and put in B flat, it appears before the downbeat at the beginning of the tie chain. The way to do this is to invoke the carrot and then move that to the downbeat. And then do the popover and type in the chord symbol, and then it aligns properly. I need to do the same thing here on the third beat. Invoke the carrot. Move over and then bring the pop over up type B flat A. To fix this, we're going to go into engraving options. Shift command, we need to go to chord symbols and then altered base notes. I could click chord symbols and then try and find that exact entry, but it might actually be easier to search for it. I'm actually going to type altered base in there it to peers, so I can click that and it'll jump right to the spot that we need. It's this setting right here. By default it's showing the altered base note only. But to match our original document, we want to show the chord symbol in full. I'm going to click that, hit Apply. And then our chord symbol is appearing as we want. Downbeat of 12 is minus seven. Then we can, from here, easily enter the rest of the chord symbols. Now that we know how to do it. Now that we have all the chord symbols in, let's add the repeat endings. I'm going to switch to page view. The first ending is at the end of bar eight, going into bar nine. At the end of bar eight, I'm going to put a backward repeat. I can do this with the bar pop over shift B, colon pipe. Then we can simply grab this note right here and go over to our panel and choose first ending. As you can see, Dorico automatically puts the first ending in and the second ending in the next bar. Dorico's default layout of the measures looks pretty good, but let's adjust a couple of things to match our original. We need to manually move some of the measures to do that. Switch to engrave mode command three. Then with the graphic editing tool, which is selected by default, I can click anywhere in any bar and then use the period key to move that measure down to the next system. Or I can use the comma key to move it up. I actually want measure six to come down, as I do for bar nine, bar 11, and bar 14. Notice I can grab anywhere in the bar. And then when I use the period key, it'll jump down to the next system. That looks much better. I also want to hide staff labels. We're going to do that in layout options. Shift command L, I can find staves and systems. Staff labels make these both, none, those disappear. I also want to indent the first system a little bit in layout options under staves and systems. Just go down a little bit. Indent first system of flow, we're going to type eight, then apply that. That looks much better. The last thing we need to do is make some adjustments to the lyrics. I want to show verse numbers. I'm going to do that in engraving options, shift command E. I'm going to type in numbers here by default, you can see it says do not show. And I'm just going to click that to show them apply. Now I've got verse one there and verse two here. The hyphen at the end of bar seven in verse two doesn't quite line up with the hyphen in verse one. I'm going to select that and zoom in here so we can see what we're doing. I can just click and drag this to align it. I'm going to undo that. I can also use a short cut on the keyboard option, left and right arrow, which for some circumstances might be a little bit more precise. And then I can line it up that way, that looks much better to me, make it full screen out. We need to change our information up here to match our original command for the project info. Then of course, we need to remove the number in our flow title. We're in engrave mode. I can just open this panel here and go to Flow Headings, select the token, and the final bar line should also be changed to match our original simply grab, make it a regular bar line because it's not the end of the lead sheet. It's just continuing on after this. With that, we are done. 5. Lesson 4: create a four-voice hymn: Welcome to lesson four. We're going to build on what we learned in the lead sheet project in lesson three by creating this traditional four voice hymn. We'll be covering a couple new things in this lesson, particularly multiple voices on the same staff and manual adjustment to the layout of the score. Let's start by creating a new empty project and adding a voice. Just like project, This is the first project where we have more than a single player. To add a second player, click the ad player on the lower left corner of the player's panel. And we'll do another voice for this part. Since both staves are voice, we could also right click in the first player and select duplicate player. Either way works, we need to change the lower staff to base clef in right mode. Select a lower staff and press shift C for the cleft popover type base, and press Return. I'm going to undo that. You can also press for clef which is the same as base. Don't need brackets, we need to delete that. Go into engrave mode command three with our graphic editing tool. I'm going to select this bracket, then this one as well, and delete them. Notice I would get a sign post as we usually do. I'm going to hide the sign posts so that it won't distract like we've done in previous lessons. Let's hide the staff labels. Go to Layout options, shift command L, then go to Staves and Systems and turn these both to none. Let's add our time signature. Notice that there is a shift for time signature 441 and that will give us our pick up shift for bars. I'm going to add 19 bars and hymns, don't display bar numbers. We're going to turn those off as well. Shift command L for layout options. I'm going to go up here to bar numbers where it says show bar numbers. Just switch that to non, apply that. Now we're ready to start inputting some notes. Switch to Galley View option command two, or control two on windows. By default, when the carrot is invoked, it displays an up stem note. This means that the music entered will be placed in voice one in this hymn. You'll notice that sometimes the soprano and alto voices share a stem, while other times their stems go in opposite directions. This is all achieved by different voices. Voice one for up stem and voice two for down stem. Let me enter the notes for the first bar to show you how to do this. First I'll turn on pitch before duration, which is K. Pick up note shares a stem, so I'll play both pitches E and C, And then press six to enter a quarter notes. I'll keep entering both voices together. Then on the third beat, you'll notice that the soprano is up stem and the alto is down stem. I'm going to only enter the soprano for beat three right now. Then I'll enter both alto and soprano for beat four. To enter the alto down stem D on B three, I need to switch to down stem voice with the carrot invoked type shift V. Notice that the little note symbol changes to a down stem with a plus sign that indicates that we're about to enter a new voice into the staff. I'll select my pitch, then enter my note. See the difference between voices. Go to the view menu and turn on voice colors. Now you can see that voice one is blue and voice two is pink. I'm going to turn them off for now, but you can have them on as you work. No problem. We need to get rid of the rests that the second voice brought into the staff. The convention in most hymns is to show different stem direction when the voice parts have different rhythm. When the rhythm is the same, the parts share a stem. Since the rests are redundant, we should go ahead and hide them. There are a couple of different ways of doing this. The first is to select the D in the alto and then open the properties panel. Command eight, under notes and rests. You can see where it says starts voice, and N's voice. If I toggle the start voice, you'll notice that the first rest in the bar goes away. If I say N's voice the rest after it goes away, we want to undo that and show you a different way. The second method is to simply grab this whole bar and then go up to the Edit menu and click Remove Rests, which is a bit faster. If we select this note and then go on the Properties panel, you'll see that both of these buttons, these toggles, have been turned on. The second method is faster and a feature that I use quite often. I've decided to set up a keyboard shortcut for remove rests. Let's look at how to create a keyboard shortcut. Go to Dorico preferences, command or control, then select key commands. And you notice all these different categories for keyboard shortcuts. We're going to search for the keyboard shortcut that we want, which is remove rests. You'll notice it's selected the category that this is under right now, you'll notice that there is no keyboard shortcut associated remove rests. We want to figure out a nice shortcut that we can use. I've decided to use control tilda. What I'm going to do is go up here to press the shortcut. Click on that, so it's highlighted blue. And then simply press those two keys. And then I can add that key command. Now control tilda is my short cut. Apply that Then for example here let's enter some notes in the second bar to show how that works. I've got a down stem currently, because I did that previously. I want to go back to my first voice. Notice I can add a second voice, up stem or down stem by holding down shift and toggling V. Or I can simply press V to get back into the original voice one and voice two. I want voice one up stem like this. Then I'll input a few of the notes. Again, going back to the beginning, invoking the carrot. Since I already have voice two put in here, all I need to do is press V to toggle between first voice and second voice. And then I can make the E a down stem note. And then I'm going to skip over the sharp. The G is a double stemming. To play G, get my double stem. You notice I've got the two quarters which I don't want. Select the bar and then let's use our new shortcut control, tilda. There go our rests. As you can see, setting up your own shortcuts is a great way to speed up your work. If you find yourself doing the same action a lot in a certain project or on a daily basis. Setting up keyboard shortcuts will save you so much time having to avoid going to the menu and clicking on something. I think it's really important to invest the time to learn how to use shortcuts and then use them as you work. There are a couple of other things to know about key commands. Let's go back in, find our remove rests. I can add a new shortcut to have multiple shortcuts for the same action. I can do shift option R, for example, add that key command. Now when I apply, I could use two different key commands for the same thing. Let's just turn this rest back on and then prove that it works Shift option, and sure enough it does work. You'll notice up here in the edit menu that it lists control tilda as our shortcut because that's the first one on the list. Let's go back in. I don't necessarily recommend that you have multiple shortcuts for the same thing, but it is something that you can do if you want. I'm going to remove that and then show you what happens when you try and set a key command that's in use by something else. For example, command Z, which is a really common shortcut for undo. Dorico gives a warning and says this is already in use and you may not want to override it. You can follow through with this and overwrite it, but I don't recommend you do that. I would probably close out and discard those changes. Related to key commands. Is a feature release with Dorico four called the jump bar type J to bring up the dialog window and start typing the command you want to use. For example, undo, select the command you want to use and press Return. The jump bar is exceptionally helpful for accessing commands when you can't remember the shortcut, or for commands where no shortcut has been assigned. You can also switch to go to, then type in rehearsal marks or bar numbers. For example, type bar 12, press return, the program jumps to bar 12. A complete list of jump bar commands can be found in the door documentation. You can also assign a jump bar alias, which is a way to use entries for frequently used commands to create an alias. Immediately after the command, you can enter an equal sign followed by the characters you want to use as the jump bar alias. As an example, click the commands. Let's think of something that we've been using a lot. Every time we've worked on a document, oftentimes we'll create something in a sign post will be created, and then I go up into the menu and I hide that sign post. Then we can do a short cut, an abbreviation H. Then we'll press Return. Now I can bring the jump bar up again. And simply type H. And you can see that that alias is now associated with Hyde sign posts. Before I enter some lyrics, I'm going to put in the base and tenor in the first couple of bars. Bring my carrot up. Since most of these voices are in rhythmic unison, I'm just going to keep it as voice one. Play my notes on the keyboard and start entering. Remember when we have a double stem, I'm just going to input the top voice voice one. And then I'll come back later and do the bottom voice. Go back to the beginning of bar two, Bring the carrot up. There is no second voice input yet. Pressing V wouldn't do anything. I need to tell Doric, I want a new voice invoice too. So I have to do shift V and get the plus sign. Now I can input the A down stem. The D, down stem, move to the fourth beat, and then we have our unison A again. Notice that we have that arters that we don't want. We set up our shortcut control apostrophe or tilda as I've been calling it, but it's really the apostrophe key. There we go, Zap that rest for review, I'm going to input some of these lyrics. The process for the entire hymn, lyric wise, is nothing really new that you can't handle, but I'll just do a little bit. As a reminder, shift L to bring up the pop over for single syllable words, you simply type that and then press Spacebar to advance to the next word. Type your syllable. If it's hyphenated, type the hyphen key. And Dorico will jump to the next syllable, finish that word out, and then press Spacebar to go to a new word. And you'll notice the hyphen appears appropriately. Here I've got a two syllable word, but the first syllable has two pitches. So I'm going to press the hyphen key once, and then I need to press the hyphen key again to get to the right position to complete that word spacebar single syllable word but two pitches. For this, I'm not going to use the hyphen. I'm going to press space bar twice. And then that creates a word extension. Then the last two or three here are single syllable words. That completes the lyrics for those first 2 bars. You'll notice that view, our lyrics are colliding with the notes. That's no good. There's a couple of ways of approaching this. One would be simply to switch to page view option command one. Then things would be a lot easier looking on the eyes. We can also attempt to expand the distance between these two staves using layout options. Shift command L. Then I'm going to go down here to vertical spacing. Scroll down a bit and you'll notice here in galley view, expand ideal staff gaps to 125%. Let's take a stab and say 175% apply that. You'll notice it helps a little bit. You might want to pursue this and maybe say, I don't know 300% then apply that there is more space now and we could certainly work this way. But I'm going to turn this back to what it was at before 125. I'm just going to switch over to page view in the original, we have verse numbers for the lyrics, we needed to turn those on. We're going to go into engraving options, Shift command E. I'm going to search for lyrics so that I can jump there. What I need to do is find verse numbers. I could scroll through all this like we have done in the past or go back up here, there we go, type verse numbers. Turn that on, apply that. Now I've got my verse number showing. Let's start with verse two. Again, bring up the lyric, pop over By default, we're in verse one. To get to verse two, we press the down arrow. Now I can start typing once you get in the rhythm. Entering lyrics can go pretty quick. Just make sure that you differentiate between spaces for word extensions and the hyphen key for hyphenated words. Let's go to verse three. Hopefully I'm spelling everything correctly. Let's go into verse four. I think that's looking correct. Now that you have a sense for how the lyrics are going, go ahead and put the rest in, and then we'll start formatting the score. Before I add the slurs and formadas, I'm going to format the score so that everything fits on one page and matches the layout in our original. The first change is the rastral size. Remember that this is in layout options. Shift command L, go to page set up and then you can see here size three. We're going to change it to size five, which will make the staves a little bit smaller. Then right below that we have page margins. We're going to change the bottom margin to 0 millimeters. That should give us a little bit more space. Indeed, everything now fits on one page, which is what we want. Now I can adjust the layout of the measures. Notice that the original includes the musical pick up at the beginning of the second and third systems. This keeps the lyrics for each line together for each system. To make this happen, we have to move the fourth beat of the preceding bar down to the next system. Switch to engrave mode command three. We'll zoom in just a little bit here before we can move this beat and split this bar into three beats. And then one beat down here. We need to change a setting in Preferences command to bring up Preferences. Then we go to Note Input and Editing, and scroll down to Breaks. And then this button here, which is on by default is going to force it to be a bar line instead of somewhere else in the bar. We want to uncheck that, apply it. Now we can select the beat that we want to move and press Shift S, which is a system break. And notice that our fourth beat, jump down to the next system. We could also click this button here over in the left panel, Create System Break. We'll do that again over here on this system shift, and it jumps down. Now for the last system, we don't move the fourth beat. We actually move the entire bar. I can just click and then use my shortcut, which is period, and move the whole bar down. Now our layout matches the original. Now we can add Formatas and slurs if we go in here, back to the beginning. Let's add some Formatas. In this first system, we need a Formata at the end of the system. On the word failing, I select my note, press Shift H to bring up the holds and pauses. Pop over Type E, R for Formata, and then press Return. The default placement of the Formatas is not quite what we want. We need the Formatas to show on the outer voices only with the formata selected. Open the properties panel, command eight or control eight. Then change the max formatas per staff to one per staff in the original. This bottom formata is actually flipped underneath. And to do that we're going to switch to engrave mode command three. And then select only this lower Formata and press the key that will flip whatever you have selected the flip. Shortcut is very handy. Many items can be flip, such as dynamics, articulations, et cetera. I use this feature quite frequently and it's very handy for a lot of situations. Remember the short cut. Now switch back to right mode. Now I can select our formadas, copy them command C and then paste them. Wherever I want, I need another set of formatas here. Then I need a set for the final chord in the piece before they am in. That's looking quite good. Waited until now to enter the slurs, because manual adjustment is involved. Whenever you need to make manual adjustments to your score, it is best practice to do it after everything has been moved to its final resting place so that you don't have to move things around multiple times. In this particular edition of the hymn, Eighth note pairs such as fortress and are not slurred, but longer groupings are, for example here at the end of system one on the word failing. I'll start with the bottom staff by selecting the, I'm pressing for slur, I'm going to select the D. Or I could select the F and then press again. And you'll notice above which is default with it selected. I'll use my flip shortcut again and that will bring it down underneath. Can also add the slurs to the soprano and alto the same way. And then I can click and drag, or I could extend the length using keyboard shortcut. Then for the a to the. Notice that by default, the slur for the alto goes from this down stem note to the next down stem note. Since they're in the same voice, it doesn't automatically go to this B. This is where we have to do manual adjustment. We're going to do this in engrave mode command three for engraved mode. Now you'll notice in a bit here that with the slur selected, you see all these different boxes on the slur. And I can click and highlight one of these box and then drag the slur wherever I want, up or down, left or right. You can also use keyboard shortcuts like option left and right for incremental movement, but that's looking pretty good. Zoom out a little bit and switch back to right mode. That's how I get a slur from the A in the alto to the B here in the alto, even though it's not in the same voice. I'll do the next system just for practice, for slur. Drag it into place for slur. Again, here again, if I try and grab this, I can't do anything with it. It will not snap because there is no other voice to note to snap to. Again, grave mode, command three. Zoom in a bit, then I can just click and drag this box and put this where I want it. Then for the tenor, I just need to extend that to the, for the base. If I select the D and press for slur, it's going to go to the top voice as we would expect. If I press to flip it. Notice that it does not jump down to this lower stem. Again, down stem voice is voice two. Whereas the two notes here, even though the stem is going down, these are actually both voice one. We can double check this with note colors or voice colors. You can see how Doc is behaving here. Again, I can manually move this in engrave mode. Command three, select my slur zoom in a bit, and then I'm just going to make this manual adjustment so that it looks correct. Zoom out a little bit. This is where voice colors can be helpful to see what's going on. I want to go back up there to turn those off. Then I can continue inputting the slurs as needed. Now that all the slurs and formadas and formatting are done, I'm ready to do what we usually do at this point and change the title and the flow and the composer name. And I will do that real quick and be back in a second. Our titles and composer name are updated and this project is done. 6. Lesson 5: create modern piano notation: In less than five. We're going to work with some modern notation without a time signature or bar lines are also some Stemles nodes and other fun things. Let's get going. First thing I'm going to do is create a new project command. Add a single player, and this will be a piano switch to right mode right from the get go. I'm going to turn off the instrument label, shift command L for layout options. Go to Staves and Systems and turn both of these labels to non apply that as usual, I'm going to hide our system track option. Now we can start entering some notes. The excerpt we're notating is unmetered, so we don't need to enter a time signature first. We can simply add notes and the measure will expand as we go. Before I start entering notes though, I'm going to change the rhythmic grid to 16th. Let's zoom in here a little bit. For the first note, bring up the carrot. I'm going to press for pitch before duration. Then for the, we're going to make this a quarter note. We'll get rid of the stem a little bit later to add dots to notes. While you enter them, press the period key, then enter the note. So I've got a C sharp or D flat before I press five for eighth note, I'm going to press the period key to add a dot so that when I press five it appears as a dotted eighth. I'll do the same thing for the E. A new feature in Dorco five is the ability to add a dot to a note by simply double tapping the number key for that rhythm. If we go back in here and delete these two, there's my D, and then with that note selected, I have to go outside the Carrot. And if I double tap five, it turns into a dotted note. Instead of selecting my, then going over here and adding a dot with the button here, I can simply double tap five and it makes it a dotted not really handy feature I'll keep adding. Now I've got an F which is a 16th press four, then C sharp, then E and D. These are regular 16th, 32nd, then these are dotted eighth notes. I'm going to stop here and make some adjustments. First, I need to break this big long single beam. Since the music is on meter, Dorico makes no assumptions about what beat groupings we want to break a beam. Select the note immediately after the break point. For example, I've got these three notes I want as one beam. I'm going to select this, go up to down to Notations beam, then Split beam. I can also access the Edit menu by right clicking or option clicking. If your Mac is not set up to do right click, the next grouping I need is D flat or rather sharp. We'll change that in a second. E and D, I want that as a group of 416. Select the, because it's after the beat grouping. Then I will right click, go to beaming split beam. Let's try it again at the end of this group of four notes. But this Timmy is the jump bar. Remember the jump bar? Press J and we're going to search for split beam. And there it is. At this point, I could create an alias if I wanted to. I could put an equal sign. Whoops, I could type split beam and then equals, let's do for split beam now, if I bring up that pop over again and type B, you can see we've added our split beam alias. Now I'm also going to change these enharmonic spelling. I'll just select a note and then use my short cut option, plus or negative, to respell that note. Enharmonically, if I have a D flat and I want to go down to C Sharp option hyphen, just grab these C or D flats and turn them into Sharps. The next few notes involved cross staff notation. When notes belong to the same beam group, it's best to enter them into one staff, in this case D, F sharp. And then we can select the F sharp and the from trouble and move them into base. You can do the same thing if you enter them in base and then move the C and D up into trouble. But we're going to enter them into trouble and then move these two down. Let's go ahead and enter those. Bring the carrot up. I'm going to simply do what we've been doing. Press the note value, then four for a 16th note, up to D. Then when I play the F sharp, I could play it in any octave and then move it, or I could find that note on my keyboard, which is there, and then play it there, which will save us a step. And then let's stop there and then grab the F sharp and use that keyboard shortcut M, and you notice the F sharp goes down into the base clef, and then the as well before I deal with the note doubling that you can see here where I've got an additional stem on these four notes, special modern notation convention. I'm going to go ahead and enter in the rest of the notes going forward, and then we'll come back and we'll do these double stem notes a little bit later with my cart in position. I need the C and the D as quarter notes. Because I have pitch before duration, I can simply play the C and the D together as a unit and then press six for a quarter note. And then I'll go forward and do sharp as a loan 16th. And then A and B, E and C, and then finally this B flat at the top. And I'm entering the stemless notes as quarters. We're going to erase the stems in a little bit. Now for the base clef, one thing that I do is just a little help, is to select a note rhythmically above or below exactly where we want. In this case, the C is aligned and then just simply hit the down key and it will jump down to that staff. Now I can input the sharp and the, before I continue, I'm going to turn on voice colors in the view menu so that we can see a little bit better what's going on. The tenor is a quarter note triplet, I'll enter the eighth, then the A as a quarter. We'll change stem directions and all that in a minute. To turn this into a triplet, I'll select and A, then I'll use my tuplet pop over, which is the semicolon key. By default it selects the ratio three to two, which is what we want. I'll press Return. There's my triplet. Now I can go down and create that sharp quarter note in my carrot. I need a new voice shift. V gives me that plus sign down. Then I can play the sharp as a quarter down here. And that flips everything according to what we want. Now I can enter the rest of the notes in the base. Bring the carrot and then just go down. And then I know it's aligned properly. Play my chord. Enter it as a quarter. Ithm. Then C and G. Now let's go back and add the additional voices which are doubling the 16th note grouping. Select the first note which is C, and bring up the carrot. Press shift V to add an additional voice, a new down stem voice. And we're going to input a quarter note C on that same pitch. Now we're going to add this other rhythm here to the second part of the 16th note group. Using the exact same process, we're going to hold down shift V, and that gives us a second down stem voice. We do not want it to be the same voice as the purple quarter note, because rhythmically, that would turn the purple quarter note into a 16th. And then we would go up to the D because it's in the same voice. We need a separate voice so that the rhythms of each of these different notes is distinct. Now I can play D and put a dot on there before I play it. By pressing Period, and then press five. You can see I have a new color. Now that I have those enders, I'm going to select them and flip them by pressing. You'll notice that when I flip them, the first one perfectly lines up with the blue note, which is what we want. This note with the dot. We're going to have to manually move in a minute. Select the F sharp in the base. Invoke the carrot. You'll notice that the carrot appears in the treble clef by default, and that's because the F sharp was originally put in the treble clef. We need our carrot in the base cleft. Just push the down arrow key, press V to change to a down stem voice. And then press Sharp on your keyboard and enter that as an eighth note. Then select the, press shift V to input a new down stem voice. Again, I don't want the same down stem voice in the same way. I didn't want it up here. I don't want it down here. If I did put it in, in the same voice as the green, it would create a beamed 16th. And I don't want that. I just want to separate eighth note to 16th with my second new voice ready. Press four. That gives me the four distinct rhythms that I need. If for any reason your colors don't match, mine doesn't matter at all. What does matter is that the four notes we've just entered are in different voices than the music we entered first. Now that all the notes are entered, I'm going to respell a couple of notes real quickly here. This C sharp should be a D flat, so I'm going press option equals or plus, and that moves it up to A flat. This sharp or a flat rather, needs to be G sharp hyphen to lower that. Now that we have all the notes put in, let's hide these rests. You should remember how to do this from previous lessons. We could use the jump bar, or we could use our shortcut we made, which is control apostrophe that's looking good. Next I'm going to hide some stems. To do that, we're going to switch to engrave mode command three. Select the bring up the properties bar at the bottom here with command eight. Then here under notes and rests, you'll see at the far right hide stem. We can actually select multiple notes here by holding down command or control while I click. Then with one toggle, I can hide all those stems back in right mode. I want to work on this trip a little bit. Zoom in here. You'll notice in our original, the tuplet bracket goes from the beginning of this note to the end of this note right here. It looks like our bracket is going much further. This is a setting in our options to allow the bracket to go to the end of the entire duration, But to match the original, I want the bracket to end at the end of the note. Let's go to Engraving options, Shift command E. Then we'll type in tuplets. Then we will scroll down and find tuplet bracket n position. And you'll notice that the one we want is this first one. Apply that, that looks better. Now let's focus on moving these notes so that they align properly. Let me zoom in one and then switch to engrave mode command three. We're going to use a new tool, it's over here in the left side panel. It's called note spacing. And you'll see once I turn this on, we a bunch of squares and dotted lines. This is referring to the column in which the note exists. If I want to move the entire column, grab the square, then I have to use a keyboard shortcut. In this mode, I cannot use the mouse to click and drag. The reason why is that Dorico goes to great lengths to space music properly. Occasionally, like in this example, there's a spot that we have to override. But for the most part, Dorico is very intelligent and powerful with its note spacing. And there are other settings that we can use to either expand or contract the spacing. But the algorithms are smart and we should not be grabbing notes with our mouse and sliding them around and creating unsightly gaps. We have an unsightly gap and we need to fix it. But that's why Dorico does to just click and drag things. The shortcut to move anything in this mode is option or Alt on PC, left and right arrow. You notice as soon as I do this, the box turns red. If for any reason I didn't like that and I want to get rid of the change that I made, I just select that red box and hit delete and it will return to its location. The other short cut is a larger increment and that's shift option, left or right arrow. As you're moving these and you need to hone in on a finer tuned movement, you just let go of the shift key and leave option click and then it becomes a much more tight increment. Now as you can see, this D, the first one with the eighth note, is placed correctly. It's this D over here that we need to move. I'm going to select the column here, just by moving this a little bit. You can see when I move the column, the gap between the first blue note in this group of four gets smaller as I move it to the right, it gets bigger. If I grab the circle, then I'm only going to change the note itself if I move this, see how the gap to the right. It gets bigger and bigger, but the gap on the left stays the same. That's because I'm moving the note, not the column. Again, delete that to get rid of any changes. Notice that I have to click here to open up this box. That's because, again, technically this note is under this column. And the reason that it's not lining up properly is because of the dot Dorico must show the dot. We just need to overwrite that. The way to do it is to select this second D, the 16th note D. Then I'm just going to use my shortcuts. I'll zoom in here. Use my shortcuts up the spacing. I'll switch to my small increment. So this is option left arrow. I just need to move it until it perfectly lines up over the other D. One other thing I want to do with this note right here. You notice that both D's have an accidental, a natural sign on them. The alignment may not be 100% perfect, and you might see a slightly thicker accidental. Because there's two on top of each other, I want to just hide one of those accidentals so that it looks a little cleaner. Select a stem, we can be in right mode here. Select the stem for this D, and then open up the properties panel and go here to accidental and hide. And you'll notice that messes up our alignment. That's no problem, we just go back to engraved mode, note spacing, Select our square and then simply move this D. Looks like it's either side of that. I think that one looks a little better, a little trick to view your work without all of these other extraneous markings on the page. You can hold down the apostrophe key or the tilda key, and it hides all of the interface markings. And you can get a view of what the score would look like in black and white, which is really helpful. Now we need to tie these notes over to their chord members. If we select a note and press, nothing happens. And that's because these are in different voices, and it's not a traditional tie. So we have to force it. The way to force it is to select each note by holding down command while you click and then press. I'm going to do that here as well. Hold down command. Select my other note and press. I will do that here as well. And then the base press and you notice it turns into a dotted quarter note. If you add a tie and Rico turns your note into a dotted rhythm, instead, you need to select the force duration option. First, I will undo that. The force duration is this clamp over here, or you can use the shortcut. If I press it, turns the clamp on. Or force duration. And what that means is it will preserve the two rhythms that you have and will force them to stay that way. Now if I press the tie works properly, some of these ties are not pointing in the right direction. We're going to switch to engrave mode. We can simply grab this slur tie and press to flip it. This one needs to be flipped as well. The tie in this example here goes across the stem and our original Ps before the stem. As it comes back, select the tie, grab this rectangle. Then we can use our shortcut to nudge that over a little bit. That's looking much better. Now we need to input some petal markings. Switch back to right mode. Need a petal marking from this cord to the end of the piece. I'm going to both of these. I don't have to, I could actually just select here, But I'm going to select both of these by holding down Shift and then clicking Press Shift for playing techniques. And then I can type PED for petal. You can click and drag. To extend the petal line, I can use my shortcut shift option, right arrow. That will move the petal marking according to the rhythmic grid, which is set at 16th. To add a retake, not open the playing techniques panel on the right side. Then select the note and click the petal retake icon in the keyboard section. Select my note, click the notch, and there it appears you can also use a pop over to do this. I'm going to undo that. Where you want the notch to appear, Press. The type notch. Or you can simply do shift six to get this carrot symbol. And that's going to stand for the notch. And then press Enter for that. If you want to remove the notch, you need to select rhythmically where you placed it. Then press Shift and type. No, not, but since we do want it, I'm going to press my shortcuts and lay that in. Let's move on to the fermatas. First we need to go to engraving options, Shift command E and search for formata. Then here, the number of formata signs per staff. We need to change it from one per voice to one per staff, and then click Apply. Now in this spot in particular, fermatas can be really tricky. Dorico tries to put fermatas in logical places, and this is not very logical and we're going to get some interesting behavior here. We select this note and we'll put in a formata there. Now don't worry if it's not facing the right way, we can switch to engrave mode and flip this in a second. We go down to this F sharp. Notice that it puts a formata both on top of this staff and this staff. The reason for that is because there are notes rhythmically in the same column and Dorico is adding them and we need them there. Anyway, we'll just leave that there. Moving on to the G, it adds a Formata above. Then I could put a Formata on this note or this note. It doesn't matter. I'm going to select this basic F sharp and then just move my carrot. Now I can input the Formata at this specific location. You'll notice that it puts a Formata again, base staff and on the trouble staff. Then I just need to add one more at the end here. Let's switch to engrave mode. Now I can manually move these to where I need them. With this first one, select it and press to flip it. Same thing goes for this F sharp formata also needs to be under, as does this one. Now that's looking pretty good. We are going to move these into position. If we compare it with our original, there's a little bit of manual adjustment we'll need to do. We're going to tuck this under this. This one needs to be above the tie, right now, it's below. We're going to do all those fine tune changes in a minute. First let's continue inputting formatas We need one at the beginning. We also need one on this chord right here. Might as well go ahead and flip this one. This one we're going to have to bring down into the staff again to match our original, but we'll take care of that in a second. Now that setting that I changed at the beginning, the engraving option to have one mata per staff, that's a necessary change for these particular instances. In general, you want Doricos default setting because it puts formatas on multiple rhythms. Let's say for example, we have a rest and then you have a note in a different staff, Dorico Smart, and knows where to put the formatas. But for this particular case where we want to do a more manual arrangement, that setting where we only had one Formata per staff is what we needed. Let's move on to some of these other markings. We need some dynamics at the beginning. I'm going to select my first note, press Shift for my dynamics pop over, then I can type that first dynamic marking which is Z. Hold down shift and press the period key. That's going to give me the less than symbol, which is going to stand in for our diminuendo or acre. Schendo Hairpin, then type fort. Now Dorico Smart and knows that that first dynamic refers to the first note or the note I have selected. And then it will apply the second dynamic to the next available note. When I press Return, it lays it in just like we want. We have a really long slur from this note all the way over to this A. I can select this first note and then hold down command. Select that note and then press for slur. Notice that it's not quite right. We're going to move that in a minute. We need some tenuto markings. I'm going to select the beam to grab all these notes. And then the tenuto shortcut is backslash. I also need one here. I need one here. Then we have some slurs between G sharp and A. Notice it did not go where I wanted it compared to our original. But this is all very much a manual adjustment that we'll need to do. This one went under, I'm going to do it above and then I'll have to move it out of the way because I bring in the Ramada down. Then I have a slur down here, and then a couple of dynamics. Let's do these easier ones first on G sharp shift D, piano. That goes in pretty much as we want. There's a piano or pianissimo up here, Shift type PP. It's going to go in the center of the staff. By default. I'm just going to move it up over here. Notice that I forgot to remove this stem when we were working on those. I'll just quickly change that by going into engraving mode and then opening up my properties panel and then hiding that stem back into page view. Let's put in the hair pin and then the piano marking under this triplet. If I select this first note, shift D, then I have my hair pin down to a P and press Return. By default, it's avoiding any collision with the staff. This marking, we're going to have to manually drag it up into the staff, but I think we've got let's just grab these and then do that. But let's go ahead and switch over to engraving mode and start adjusting these command three, You notice that I have these panels open on either side, and that's fine, but I like more real estate to work. A shortcut to close all the panels is command zero. I've got my graphic editing tool selected. Let's start with this slur at the beginning. This is really just by one thing that we can do with this slur is bring this down and then with these other adjustment points you can click and drag. We're not really going to get that clearance without it looking too crazy. We're going to do some curving here, click and drag as needed. The idea here is to get this idea that the slur is going from the first note all the way up to this A and the tenor. And that looks okay. I can use my shortcut shift option up and down to move it into place. Select the tie, You'll notice that there are these different square adjustment points. If you have one of the squares highlighted and move with the shortcut, it will move just that point. If you click in between those points and select the entire object, then the whole thing will move. If you have this first square selected, you can press the tab key to tab through the different adjustment points. Notice that when I move the tie down, the formata comes with. That's just automatic spacing thing. Just work back and forth between the two until you're happy. I think that looks pretty good. Let's bring our diminuendo and piano up into the staff to select both of these. Just hold down command or control and then click both. With this, I can drag it and just move it with my mouse. That's probably faster than using the shortcuts to align this the way that I want. I may need to just grab this piano and move it by itself. I want to tuck it in nice and tight, and move this up just a little bit so that I'm not too far away. That looks pretty good. Next, let's do these slurs. Zoom in here. This endpoint needs to go up right underneath this A, something like that. This formata needs to come down. Then I'll bring this slur up again. I can just click and drag. Sometimes it's easier. I want this slur to have just a little bit more of a loop so that it's not completely obscured by the staff line. A lot of this is to taste, but some of it is engraving conventions. By default, Dorico places the slur right on this note head in the center and then the formata outside of that. Then the original it's a little bit more off to the side and the fermata is a little tighter. That's what I'm going to go for for this. Now let's do this. Slur and formada in the middle. You'll notice that I have very little spacing here. It's rather tight. If we want a little bit more space between the staves, go over here and use a new tool. This is called the Staff Spacing Tool. When I click that, you'll see I get this blue indicator. And then I have a couple of different squares and indications of how far apart the staves are in millimeters. We want to move the bottom stave. I can click and drag to wherever I want or I can use the shortcuts that we've been using so far. Shift option, down arrow or up arrow. I'm going to give myself plenty of room. Switch back to my graphic editing tool. Let's see if that was enough space. We can always move it again. First, I'm going to move the tuplet out of the way. Bring the Fromaa down. Bring the couplet back down. Then now we can adjust our slur so that it looks a little bit cleaner. I think that looks pretty good. We have a little bit of space here. I might as well tighten that up a little bit. Now, I'm going to work on this B flat at the end of the excerpt. Let's switch to engraved mode. Zoom in here. First thing, bring the PNSMO up. It's placed just to the left of the note. Switch back to right mode. We need to add a playing technique on the B flat called a metso de voce. Looks like a crescendo de crescendo. We're going to add this symbol to our playing techniques so that we can access it through the pop over and quickly place it into the score. Let's go up here to our library playing techniques. We're going to click the plus sign to create a new playing technique. We're going to call it Metso de Voce. Now here under type, it says text. We want it to show as a glyph which is going to be a symbol. Now we're going to go up here to the pencil icon so that we can edit our glyph. I'm going to make this a little bit bigger so we can see what we're doing here. This text, we don't need this anymore. I'm going to delete that. Then up here where it says Standard Accidentals, this is the default font. Bravia, music font, and all the different symbols that come packaged with it. As it's quite a lot, What we're looking for is articulation supplement, which is here you can start typing like ART and it goes to articulation. Sometimes you can search for things that way here Dorico has already provided several Metso Devoche symbols, which is great. We don't have to make it. Want to select the first one here? And then click Add Glyph and click Okay. Now we have our symbol. Now I can bring my playing technique. Pop over up Shift and start typing Metso devoce. Click that, and there it is. Switch to engrave mode to move it into place. I want it a little bit. That looks pretty good. Zoom out a little bit so we can see our work. Fantastic, it's looking really good. Before we change the title and the flow and all of that, let's put in our tempo mark shift for tempo, then we just type the words, press return. It needs to move up a little bit, switch to engrave mode, and then just move it until you're happy. Good, now let's change our project info command I. Now here we have a diacritic mark over the E to access the symbol. Hold down option and press E and then type again. We've done this before and just remember that those shortcuts that I just gave you are for Mac. For Windows, it's a different process. You need to know the four digit code or you need to search for that in the character map and then copy and paste it. Then switch to engraved mode. Open our right side panel, go to Flow headings, get rid of that number, and with that, I think we are done. Good work. 7. Lesson 6: create an incipit with graphics and typography: Welcome to Lesson six. We're going to touch on a variety of topics in this lesson. Master pages, typography, graphics, and how to insert frames for text and music. So we have this wonderful image of Chopin, some typography, fancy lettering. And then we have some music laid out on the center of the page with various elements above and to the side. Let's get started. Begin with a new document set up. We're going to add a single player for a solo instrument. Now it doesn't matter what we use technically. The music in the example is piano music, but it's only showing one staff. It's called an Insipid, which is like a preview of the music that you're going to find on that page. And it usually just gives you a melodic fragment that is most recognizable. It doesn't matter what instrument we use, I'm just going to use flute because it's a treble clef instrument and we're going to hide all the names. And we don't really need playback, so it doesn't really matter. Now we could enter all the music in a single flow multiple bars like this, and add individual text boxes for the tempo markings and opus numbers. Then manually adjust everything to get somewhat close to this example. But remember lesson two where we added two variations to the theme and how we use flows to organize the musical layout. It was very handy to be able to just put in the music for each flow, which each of these is going to be, and then make them all layout on one page. This is what flows are all about and this is what Dorico excels at. Let's go back and add several flows we need total. We could do this in the project info window command. We did this before, where we hit the plus icon and added the flows. Honestly, that's probably faster. But just for the sake of variety and so you're aware of it. I'm going to show you how to add flows here in set up mode. By default we have flow one and they just give that generic title. I'm going to rename it according to the opus number that we have. For each incipient, this first flow, we're going to rename opus nine number one. That way I can keep track of what each is. Then if I go over here to the right side of this panel, I can add a flow, and you'll see Dorico lays out another page for us. Let's label this one opus nine, number two. And I'm just going to keep adding. I have four more to go. I may speed this up. Okay. Now I have all six flows entered, and you can see they're all showing up on different pages by default. That's the way it's supposed to be. We'll get them all into one final page after we input all of the notes. For now, let's switch to right mode so that we can get going on note entry as we usually do, we're going to hide our instrument name. Go to layout options, Shift command, L staves and Systems. Turn off staff labels. I'm also going to turn off my system track option. Now I should probably switch to galley view and zoom in on our first flow. Looks like this is in B flat minor shift for key, and then two lower case s to indicate B flat minor. Bring up my time signature, pop over shift M type 6464. And then three. Now you'll see that I have three quarter notes in my pick up when you turn on pitch before duration with K. And now I can start entering notes. That looks good. I need to hide sign posts, select this first group for slur also need a slur between these three notes. These three notes also need staccato. Put my slur in here. Slur here. That's looking good. Now you'll notice that all the flows have a final bar line applied by default. But in our example, there is no bar line at the end, it's left blank. And we want to do that. We're going to go into notation options, shift command, and I want to make sure over here on the right side that all the flows are selected. And to do that, the bottom one was by default, but I can simply shift click and select all of them. Or I can just click this button down here which says Select All. Now whatever change I make will apply to all of these flows. Here, I'm going to go to bar lines and then automatic bar line. At end of flow, you can see how it's set to final. We want it to be no bar line that very conveniently gets rid of that for us. Now we have this extra rhythm at the end of the bar. I'm going to use my jump bar to remove those rests. This first incipient is done. Our meter is 128. Need an eighth note pick up. Now you may be thinking in previous examples, I typed 441 to indicate one beat for that pick up. You may think if I type one here, I'm going to get a dotted quarter note. But really what Dorico is interpreting is there are 12 eighth notes in the bar, and I need one of them as my pick up. That's the way it's working here, by beat, but by the number of divisions. 1281 will give me 18. If I'm in 44 and I type one, it's going to give me one quarter note. So just keep that in mind as you use the pop over. That's my pick up. Let's change our key. This is in E flat, capital E, lower case B. And we can enter these notes. Now with my pick up entered, I can keep adding notes. You'll notice that I did not add bars. You don't have to Dorico will continually add bars as long as you're inputting notes. Since it knows we're in 128, it'll fill the bar, put the bar line in, and we're good to go. This is easier for me than trying to figure out how many bars I need and putting them in ahead of time. I'm just simply adding the music that I need. And then when I get to the end of it, I'll hide those extra rests. I've got a which is a dotted quarter note suppress, period six. Now I need a tie so I can press the tie short cut, and then press eighth note for my next. And then keep going. Now, I forgot the dot here, but I did it on purpose to show you how to use Insert mode. Remember we talked about that briefly in a previous lesson. Insert Mode allows me to extend the length of this without eating up any of this rhythm. I want this to be an eighth note, but I do not want it where it is. I need this to be dotted and I need to, I said eighth quarter. I need to push this quarter note over with this note selected. Just press for insert mode. And then press it's that simple. It moves this over appropriately without shortening the length of it. And that's looking better. I'll hide this. Use our shortcut that we set up before control apostrophe. Now we can add some of these markings. We've got accent right at the beginning, a slur that goes all the way over to the E flat here. I can just click and drag that, another slur that goes all the way over to the end. Now we have a new item to talk about which is called a turn to bring up the ornament pop over you, type Shift, and then we simply type turn and press Enter. And there it appears, you'll notice in the original that there are these accidentals above and below the turn to add those, we're going to open up the properties panel command eight. With our turns selected, we can click interval above, interval below, and turn those on. And we just need to adjust these until we get the natural sign. In this case, click up twice to get number two on each of those, and that's what we want. Close that panel, and now I can graphically adjust this to look a little bit more like our original command three. Zoom in here, bring this down a little bit closer. And then move our slur up so there's no collision. Now you'll notice when I switch back to galley view, that those changes are not visible, they're only apparent in page view. This is why I recommend not making any manual adjustments to anything until we're in fine editing mode and then we can adjust everything at once in engraving mode in the final pass. Again, I recommend that process of note entry first, fine editing at the very end here in Incipit three. Shift, K shift M68. Now there are six eighth notes in each bar, and I need one of them for my pick up, and I'll start entering notes. I still have insert mode turned on from our previous incipit, so I'm going to turn that off. Now here I need a 16th note rest followed by the C double sharp. I've got eighth notes on my grid by default, I want to change that to 16th so that I can easily advance the carrot past that 16th rest. Then I can enter my double sharp, which is a natural, harmonically spelled. And we'll change it to a double sharp in a second if we need to. Nope, we don't. Dorico automatically figured it out, which is great. It looks like we are going to have to manually change a couple of these pitches. Select the double sharp at the end of bar one, and then option equals to make that a D natural. I also need natural here. This A at the end of bar three needs to be an E sharp. Now we can input our articulation. This is a new symbol. This is called the staccatissimo, and you can see the shortcut for it is the right curly bracket shift and then right bracket to get the upper symbol. That's the staccatissimo. It looks like The third incipient is now done. Let's move on to the fourth. This fourth incipient is very straightforward. We're in 34 time with a quarter note. Pick up key is major. Now in this particular spot, I want to show you a feature that you can change if you like this preference better. I personally like it better, and I think it's worth exploring. Let's open up our preferences command and then go to Note Input and Editing. And you'll notice here it says specify accidental rhythm and articulations before inputting a note or after inputting. I personally find it easier sometimes, and now I'm used to it all the time to have this on after inputting the note. For example, I'm going to delete this bar. If I put the A in as a half note, then I can simply type the period, and that will add the dot at that moment. If I had it set the other way and press Period, nothing would happen. It would just load the period for the next rhythm. I find myself forgetting to put the dot on ahead of time. More often than not, I personally like this and I'm just going to leave it set this way you can change and do whatever you want. But I like this and I'm going to continue using it. For our fifth incipient. We need to be in 24 time. Yet another pick up. This is an eighth. I have two quarter notes. If I press one, I'm going to get one of those quarter notes. I need half of that quarter note. I need to press 0.5 for half of one beat. That gives me the eighth note I need. Our key signature is F sharp major. To get the sharp, I just hold down shift and press three on my number pad for the pound sign. Now we can enter some notes. Now here we have a quintuplet. I can do this a couple of different ways. I can input the quintuplet as I'm entering notes. Or I can input notes longer than the quintuplet using just regular 16th. And then use insert mode to shrink it back to a quintuplet. We did that before in a previous lesson. I'm going to do the quintuplet before I enter the notes with my carrot, ready to go. At the beginning of this bar, I'm going to press semicolon to bring up my couplet here. You can tell that Dorico doesn't know what I want. It doesn't offer a suggestion. I have to type it in five colon four. Then I'm going to press, now you see nothing happens. Is loaded with five in the space of four. What rhythm I choose next is going to determine what type of quintuplet I get. I need a 16th note quintuplet. I'm going to select four. Now I finished this tuplet, but it's still selected over here in the panel to make sure I don't continue entering quintuplets. Just turn that off. Our final incipit is pretty straightforward. Minor 34 with a quarter note. Pick up the notes are pretty straightforward, as are the articulations. I'll just input this real quick. Now that I have all the music entered, let's go to page view and zoom out. You can see our flows are laid out on separate pages. Switch to engrave mode and look over here where it says page templates. And you'll see we have a default template and a first page template. I double click on this. You'll see that the default page has a blue frame for music, in green frame for text. You can also see the tokens, flow, title, page number are populated by the information in the information panel. If we look at the first page template, you can see there's project title, Lysis composers, and those are put in by default by Dorico. If you input information into any of these categories in the project info, the token will grab that information and then put it in the score. We don't actually want this layout, we want to do our custom layout. To do that, we're going to create our own page template. To create our own page template, we're going to click the plus sign here. We're going to call it whatever we want. It doesn't matter, but I'm just going to call it Insipid. Make sure it's based on none and that the type is custom. And then click Okay. Now when I double click on this page, you notice that our Inci page blank. Now we can draw our text frames and music frames wherever we want. Let's start with the music frame. Go over here, make sure frames is selected and grab the music frame. And I'm going to roughly put the music where I think it's going to appear based on our example. I need to zoom out a little bit here now, I could guesstimate it, but I actually calculate it and I know the exact numbers and I can change those by going into the properties. And you'll notice I have different control for the left, top, right, and bottom for this particular frame, which is selected for the left and the right, I want 50 millimeters for the top, I want 120 for the bottom. I'm going to leave that at zero. Our final project is only going to fill one page. But when working with master pages, if you want the layout of the left to match the right, you can press the Copy layout button. I'll go ahead and do that, even though for our case it doesn't really matter. And then apply that and close to notice that nothing happened. That's because our pages are still using the default page template. Select the first page, hold down shift, and select six to get all of these selected. Then we're going to insert a page template, change here and change it to our page, which we just made called Insipid. Might as well switch from this page onward, even though we're going to end up with only one page. Now you can see that we've got each flow on its own page, filling that frame that we set up. I want all the flows to go on this first page. Layout options, shift command L, go to Flows, then I'll click Allow. On existing page. I'm also going to change the flow hitting top margin to 5 millimeters, the bottom margin to two. Then I'm going to go back to rastral size and shrink the music down to size eight. When I do that, all of my flows are now on one page and they fill this frame. Our titles are way too big. And I'm going to change that by going up to library paragraph styles, select flow title. Let's change the size to nine points. While we're at it, let's change the font from Academico to Dido, classic typeface. Then we'll go down to alignment and make it align right. It's looking much better while we're here. Let's go over to Flow Headings and hide that number. That's looking pretty good. Now I want to add the tempo markings in such a way that they align horizontally. The opus numbers as you can see here in the original. To do that, I'm going to switch to engraving mode. Then make sure the right panel is open. And go over here to the Flow headings default page template. You can see the flow title on the right side. As we made those changes previously, what we need is a new text frame with a different token. And then we can apply the tempo marking in that new info field in the project info panel. For example, in this first flow, our title is opus nine number one. This flow title is going to grab that and put it in our first flow. We need to use one of these other placeholders, So I'm just going to use subtitle since it's available. Now, don't be alarmed that we're using title and subtitle for tempo markings and opus numbers. It doesn't matter, these are just placeholders and we can use them any way we want. I'm going to type the tempo for the first incipient, which is Lar Ghetto. Now if I click Apply, then close. Nothing happens either here or in our score because we do not have a token that's going to accept that information. That's what I need to create. Now go over here to text frame. I'm going to click and drag and roughly make it the same height and width as flow title. Then I can type in that token, which is left curly brace, the at symbol. And then flow capital S for subtitle At and then curly bracket to complete it. Now as you can tell, it's not in the right position. But let's just see what it looks like. Click, Apply and close. Now I've ruined everything because I've created essentially two titles. One is the opus number, and then the other is the tempo. And I've moved them in such a way that it needs to create space for the music below. It pushed all the music for every flow down. And now we're back to two pages. If I click and drag this box and move it up to the top, then you'll see that since they're both on the same plane, we're back to this one layout because both boxes are sitting on top of each other. By default, the Lar ghetto tempo mark is left aligned. And then remember we change the opus numbers to be right aligned. This is the methodology we're going to use. Obviously, I need to change the typeface and the size to match our opus numbers. Go to library Paragraph styles. Now you'll notice there is no subtitle. There's a flow title, but no subtitle. We're going to create a new one plus sign. And I'm going to call this subtitle. Remember we used did. The size was nine point. It's automatically left a line, so I'll leave that now. You'll notice nothing happened. That's because I'm going to go back in here and click on this box. Now you'll notice sometimes when you lay two boxes on top of each other, it's hard to know which box you're referring to. For that reason, we may need to adjust how these are sitting on top of each other. I might want to put just a little gap from the edge for this flow subtitle box so that I know where I can click to select just that one box. There we go. Even if I double click, it still grabs the flow title. But if I press Return, then I can enter that box and not the other one. If I select all of this, you'll notice up here we have a paragraph style associated with, it's by default on default text. But if I click this and then go down here, you'll notice there's a subtitle which I added. Now this is associated with this particular text, and it's got my font and everything just the way I want. And click out. And now I can apply this, now it's looking correct. Switch to page so we can see that. Yeah, that's looking great. Now the reason we went to all this trouble is because now we have an extremely powerful tool in the project info window for our first flow. We've just typed in this tempo market. And then I had to go in and change the page emit. But now all that work is done. All I need to do now is add the tempos for each flow. Then when I hit Apply, it's going to put them all in for us with the correct formatting, with the correct font, and it's going to be aligned properly. And everything we've done, all that work for a reason. We could of course, do this all manually and put boxes in for each one, but we work smarter not harder. This is The way to do this, apply, check it out. That's the way to do this. Use those tokens for your advantage. One other thing about these flow headings. This is referring to any text box. If I click on just this top box, you'll notice over here we have constraints. Let's say for example, you're probably wondering why go to all this trouble of laying the box out to the far right side. And then when I double click on it, it selects the wrong box. Let's do this, let's drag it cleanly out of the way. And then this one will do the same. Now, this should work fine, right? And then I can easily double click here and double click here and make any changes I want. If I apply this and close it, you'll notice things go wonky and Dorco gets a little crazy. The reason is because when you click on this box, you'll notice it's constrained to both the left and the right margin. That's creating some calculation problems with flow subtitle. I just want it aligned to the left margin. I'm going to do that lock. Then for the flow title, I only want it locked to the right, and I will undo this one. Then when I hit Apply, it goes back to the way it should, and that looks beautiful. Changes made to a master page will appear on document pages that are set to that particular master page. For example, this page is using our Insipid master page. If I go in and look at the Insipid master page, the only information on this page is this blue box. What that means is if I add anything to this working document, it's not on the master page. Let's do an example. Let's go over here and we'll put a text box right here. Soon as I do that, you'll see this red triangle appear. What I've done is I've put in a manual override. This is very important to understand. When you do that, let's say later on I want to go to the incipient and realize, oh, let's say I'm using 100 pages and they all have this format and everything's working great. Then on one page I decide I want a text box, and I put that on that page. If I then changed my mind, I'm like, well, actually I want this frame to be wider. And I click, and I drag it out here and I'm thinking it's going to update all my pages. And then I save this and close this one page where I had, that box is going to have a red triangle and it will not update to match. Dorico remembers any manual overrides and essentially turns off the connection between this master page and the page where you've made the manual edits. Now for our document right now, it doesn't matter because we only have one page. We're actually going to make an override and have red triangles. But in general, it is best practice to do all of your changes to this master page before you go in and make any customized edits. Because again, if you make a change here and you want it to populate to all your pages, then you would have to essentially erase any customized work. Let's say for example, I go up here and I see the red triangle and I want to remove all page overrides and return it back to its native state. Let's say I spent an hour typing some beautiful text into here. When I do this, that text box gets erased because what it's doing, it's pulling this master template and applying it and erasing whatever is there that was custom. Again, just keep that in mind as you work. Even though I just reminded you not to do a page template override, that's exactly what we're going to do because this is a special one off page. And show you a second how adding these numbers on the left side would be a little bit trickier. Doing it on the master page from here on out. Now that we've got our flows, titles, and tempos all working properly, now we can add all of this other information and do an override on this page. Because from there we're not going to make any changes. Just be aware that, let's say you made a mistake with the frame and you wanted to widen it or something like that and you wanted it to update, that would create problems and you might lose some work. Just be careful when you're doing page overrides. But back over here, let's say I did want to do the numbers on the left side. I grabbed a frame and I pulled it down like this. Then I started entering numbers. That's fine. And I can do that, but it's just harder to see where I am in reference to the music because it doesn't put the music in on the template page for that reason. Not going to work that way. I'm going to do the override right here in this view. I'm going to grab my text box and I'm going to drag it roughly the same height. It doesn't have to be exact because I can go in to my Properties panel and I can see that my top is set to 120 millimeters. I will duplicate that number here. The right and left don't matter that much because we're going to nudge it into place in a minute. But the top being aligned is important. I want that to be precise. Now, I'm going to enter the numbers. I'm just going to enter them, this one with a period, and then press Return and then put the two all the way down to six. Now as you can tell, the numbers are not the right typeface and they're not spaced properly. I could make a box for each one of these numbers and place it manually, and hope for the best. That's a lot of work and this is going to be better. The way we're going to do it. We're going to create a paragraph style that spaces these out automatically for us. Let's go up to library paragraph styles and we're going to create a new style and call it Incipient numbers. I'm going to change the font to die dough, keep the size at 12. I'm going to change the gap after paragraph. Now I did a little bit of work in advance to get close, and a good starting place is 41.5 points. It may not be perfect, but we're going to adjust it manually to get exactly what we want. Nothing happens because I've created that paragraph style, but I haven't applied it yet. I need to go up in here and apply the change hoops, and I made a mistake, and this happens a lot. Going back to incipient numbers, notice that my gap, which I typed in, did not apply. Didn't. That's because I didn't click out of the box or hit Tab or some other key. If you're just typing away but don't click out, nothing will actually change. Once I've done that, now I can click okay. It's not quite perfect. Let's make some adjustments to our paragraph style until we can get closer to what we need. Let's try a slightly bigger gap. Let's 42.5 You'll notice I don't have to reapply the style, it's already there. Whatever changes I make in the paragraph style, it will automatically communicate that to our document. I think the one is a little low, the two is a little low, six is a little high. I think we could do maybe one more. Let's try maybe 43. It's almost there. Let's go up to 44. Yeah, I think that's looking pretty good to me again. Remember you can preview or print preview by holding down the apostrophe or tilde key. I think that's good enough. The frame is a little bit far away from the music, so I'm going to put that, bring that a little bit. Print preview again, I think that looks great. Working our way up, we're going to add a text frame for the table of contents. I'll go over here, grab a text frame, click and drag. I want the text frame to be, to go to each edge of the document simply because I'm going to center the text. And that's a convenient way of doing this. I'm not going to use any of this formatting because I want to create a paragraph style. Let's type in the text, go up here to library and go to paragraph styles. Let's create a new style and call it, you guessed it, table of contents dido. Let's make it 17. Let's make it bold. Let's make it centered. Then I can go back in here and find my table of contents Preview. That looks pretty good. I like that. Next I'm going to do the thin black line that separates the Chopin nocturne heading from the table of contents. Now there are a couple of ways I could do this. I could do this with a line in the music and create that in the staff, and then bring it up here and extend it across the whole way. Or I could actually use a text frame. This is pretty easy. I'm going to use this method again. I'm going to create a text frame that goes across the whole width of the document. Then I'm going to make it have a Border Command eight show border, the border thickness that they give me, 0.35 millimeters is fine. I'm just going to keep that. Command eight. The interesting thing now is that I'll zoom in a little bit and close all these panels. Command zero. Now I can simply bring the top, or the bottom to meet and I'm going to use my shortcuts to get really close here. I have essentially lined up the top with the bottom. And if I preview that, I have this scores on a line. I think that's pretty cool. Now another thing I can do is select this box, go into Properties, and I can adjust where the left and right margins appear. Let's actually figure out what the margins are for this document. Left and right are 50. Let's apply those numbers to this line. Left is 50, right is 50. Then I can bring it down a little bit. Who, something happened there? Clicking and dragging gets you in trouble. Let me use my shortcuts. I like that better. I think that looks pretty good. If you want it to be a little wider, you can. This is we're in the realm of personal taste at this point. Exactness is not the name of the game, but that looks good to me. Now we can finish off with our fancy text. Go over here. And now I've got my text frame. Zoom out a little bit. I'm going to do the same thing I did before and go across the whole document so that I can then center the text. We're going to make two text boxes, one for chop and one for nocturnes. Since we're working our way up, I'll do nocturnes next. Now I'm just going to show the difference in process here. One way of doing this is to just create the style that we want in this text box and not create a paragraph style. I don't really need a paragraph style because there's only one instance of this text. I'm going to do that here because it's faster and a little bit more easy to manipulate. But in general, I just want to reiterate this, If you're working in a document and you're using the same style of text in more than one place, it behooves you to make a paragraph style because then you can, with a click of a button, change that if it's 1,000 words or one word at the click of a button. If you do it manually like I'm about to do, you have to then manually update every single instance of that text. I discourage you from doing it this way unless it is a single use case. We're going to change this to for nocturnes. I think I used Snell round hand which is a fancy. Yeah. Whatever curvy font you want to use. Handwritten like this is fine or not handwritten, but I like to look at this and I'm going to make it nice and big. Let's say 72 points and then center it. Yeah, it looks pretty good. Just make the box a little smaller here, I don't need all that space. Then I can just click and drag it because it's, the width is set to the entire document. I don't have to worry about left or right wandering. I can click and drag as much as I want and it will always be centered in the middle of the document. It's a good tip. If you're doing centered text, then I'll do another text frame in exactly the same way. All right. Let's see. It's looking pretty good. We may have to shrink this down and move things. In fact, I know we are, because that looks way too big for what we have planned, which is this image of Chopin. I'm going to make a little bit of room here. You notice we've got music frames which are blue, text frames which are green. And then we have graphic frames which are a lovely shade of pink. You see this X in here, It means there's nothing in it. And the way to put something in it is to double click. And then it's going to bring up a finder window in Mac or however it works in Windows. Then I've got my image here, which I found online. There it is, it looks great. Now if I preview this, it doesn't look quite right. This is where aesthetic eye judgment is going to help you out. I think nocturnes is too big. 46, why not? All right, that's looking a little bit better then. The show pan needs to come down to probably 48, something like that. It doesn't matter if these boxes overlap, it makes no difference. You can do that if you want. I just want to have a little bit bigger image here. You'll notice that as I drag the graphic frame, the image will stretch to fit. If I drag this down, it will shrink. And the layout here, part of the problem. I have these rather generous margins. If I wanted to, I could shrink the margins and then drag this up a little bit further. I could leave it the way it is. It doesn't look half bad though. Part of me wants the image to be the same with, as the music. Let's just do that just to satisfy my obsessive compulsive disorder. I keep grabbing this and nothing's happening. And that's because I'm in graphic editing by default. Remember you got to go to the frames button to be able to adjust enough for what we need it for. You get the idea of how graphic frames work. And we have this wonderful incipient now. And we did some great work with text frames and graphic frames. And this type of layout is what Dorico really excels at. Use the flows to your advantage so that you can make really interesting layouts like this. 8. Lesson 7: create an orchestral excerpt: In lesson seven, we're going to create the first page of an orchestral score by Brahms. We're going to work with condensing and talk a little bit about orchestral parts. To start, we could create a new document like we've been doing in the past and then add all of our players. If we were to do that and go to command to create a new project, we could work with adding section players, adding ensembles, and then building it that way. And that's perfectly fine, but Dorico provides templates that will get us started just a little bit faster. If you go up here to file and then go to new project from template you'll see there's orchestral. A few different options here for orchestras, I think a classical orchestra is actually close to what we need and it looks like this. I'm going to maximize this. Then we can see all of our instruments. We're in page view. If I switch over to galley view and zoom out, you can see we've got a flute, oboe, clarinet, bassoon, et cetera. We need to add a few more instruments to match our original. Let's take a look at the original document to see what instruments are actually. Here is page view currently condensing is on. It's a very cool feature. You'll notice we've got Obo 1.2 and they're both playing on the same staff, but when I switch to galley view, magically there's an Obo one part and an Obo two part. This is called condensing, We're going to input all the notes using the Obo one player and the Obo two player. Then after we put those notes in, we can click a single button and Dorico will combine them onto the staff together. Again, back in this view, we can see the instruments we need, starting with piccolo, two flutes, two oboes. We need to add piccolo to this ensemble. How do we do that? Well, we go to set up mode, then we can go down here, we can say pick. We'll use the piccolo, and automatically it gets added in the right spot. We need another flute. Instead of searching for flute, I'm just going to duplicate that player. And now Dorico, again, is smart and knows how to number them automatically. Let's duplicate and add an oboe. We need another clarinet, and we need another bassoon, and we need a contrabassoon. I'll duplicate the clarinet. I'll duplicate the bassoon. Then I'm going to have to add a contrabassoon. In our original, we have looks like four horns and two B flat trumpets. We have one horn, so I can duplicate the horn a couple of times for percussion. The original has a timpone and a triangle. Our template has the tympany, but it doesn't have a triangle, so I'm going to add another player. Then of course, the standard string ensemble. Our template also has the standard. We are ready to go switch to right mode. If I switch to page view, you'll notice that everything is really tightly spaced and a little bit too big for the score. I don't really have to do this now because we're working in galley view and I can't tell the difference. But just in case we want to switch back and forth to see how our progress is going, this is not very pleasant to look at. We're going to adjust this by going into layout options. We're on page set up and we're going to change the rastral size from three down to seven. Let's also reduce our margins on all the sides to 10 millimeters. That looks much better. It's still a little bit tight, but if I go into engraving mode, you can see I've got this copyright box at the bottom, which I don't really need. Let's go over here to the first page master template. And I'm just going to select that copyright box and delete it. And then I can click and drag this music frame down, which will give us a little bit more real estate. Duplicate that for both pages just for good measure. That's looking a little bit better. The staves are still colliding, but we're going to fix that a little bit later. Now we need to switch back into galley view and we can start entering our notes. Before we start doing that, we're going to go to the edit menu. We're going to change it from concert pitch to transposed pitch. Concert pitch, of course, is everything is sounding in the key of C. If you see a clarinet that has an A on the staff, that means that's the pitch that's going to come out in the concert A. That is not the pitch that the clarinet is going to have written in their part. They're going to have a major second above that A. They're going to have a B natural. Normally, I would work in concert pitch because I want to know which notes the instruments are playing. And then I would switch to transposed and that would transpose the Need to be transposed. But since we're working off an existing score, which is printed in the final version, it's transposing, meaning all the notes that we need to enter, we're going to be entering them in their transposed state, that's why I switched to that mode. We're going to zoom in here and start entering some notes in the oboe part. First, I need a time signature, a key signature. Notice that I'm in the French horn part, and it only gives one flat, even though I type B flat, and that's because I'm in a transposing score. The horns are in F fifth above, but if you look at the bassoon part, it's got two flats in the clarinet, because it's a B flat instrument. It's written in the key of, so that if I wrote a C on the staff, a B flat would come out as the sounding pitch in oboe one. We can start entering these notes. Pretty straightforward here. I forgot to turn on pitch before duration with K. That's the way I like to work. Notice that I did not add the bars and I just input all the notes. Going forward again, Dorico can add all those bars for you. You can do it either way. It doesn't matter with Obo one entered. I'm going to save myself a little bit of time by copying all the music from Obo one into the Obo two part. I have this all selected, I'm holding down option, and then I click and it's all duplicated. Then if I go back to the beginning, I can press L, which locks it. And now I can simply play the new notes. Occasionally the rhythm is going to be different. I'm going to disengage, lock when I get to that bar to do the different rhythms and then re lock when it lines up so that I can save time inputting these notes. Now we want to turn condensing on to see what we've got if I switch to page view now, so you can see we've got our Oba 1.2 part separate. They've got different rhythms in a couple of bars to turn on condensing, we go to edit and click that. Amazingly Dorico just combines them into one single staff. Again, I cannot overstate how amazing this feature is. We're going to turn that back off so that we can enter the rest of the notes and switch back to galley view. Let's go ahead and add the markings for the Obo one and Obo two part and talk about something that we have to do because of condensing. First of all, we can input the dynamic for each part. Input the first one, I've got it highlight. I'm just going to hold down option and then click, which will reproduce it in the staff below. I'll do the same over here in bar six. Then we have a slur for both of these parts in the last bar, we also have a slur here in bar five. The only other marking is this tenuto marking right here in bar two on both of these chords. Now, sometimes you'll use the text tool, we've used that before. I think we use it in our very first or very second lesson, shift X. Then type for our tenuto. We can change to italic. It's a little bit big, let's make it six point, then duplicate my tenuto on the staff below. Then go up here to condense and then switch to page view. You'll notice a problem. The problem is that there are two tenuto markings. What Dorico is doing is it sees the text and it interprets that as a distinct element for each staff that needs to get brought into the final score. How do we get a single tenuto marking to show up here in the full score, but then also have the tenuto marking for each individual player. Because we're going to have parts where each player can see that the playing technique is essentially like a dynamic. It is linked to that specific staff and it is intelligently understood by Dorico. In the same way that dynamics are right. When I switch to page view, there's only one piano marking. Dorico knows because condensing has been set up this way. They only need one dynamic for both players on this staff. That is also true for playing techniques. We're going to go back in and input that as a playing technique. Go to library playing techniques. We don't have a too, so we need to create one, we'll simply call it too. We want it to be a text type. The text that we want to appear is lower case TEN period. The playing technique font is probably not what we want. Let's try dynamic text font. Yeah, that looks right, it's going to be italic. We'll hit, okay. Now I can do my playing technique. Pop over shift type tenuto, and there it is. I'm going to copy that to the staff below. Now switch to page view. That's exactly what we want. We want one tenuto for both players. I do need it on both beats. Again, I can just copy and paste those. Let's keep entering notes. You may notice that the Obo parts are the exact same as the bassoon parts, just an octave lower. We're going to copy and paste. Save ourself. A lot of time and energy. Zoom in here, grab the Obo, one part. Simply click with the option key held. Obviously, that's the wrong octave to transpose notes up and down an octave. There's a keyboard shortcut command option, down arrow. I'll do the same thing for Obo two command option down arrow. Very cool. Save myself a lot of time. Now let's enter the contrabassoon. Contrabassoon is a transposing instrument. What I need to do, enter all the notes where they sound. I need to write it an octave lower on my keyboard and then input all the notes that way. Good, That's pretty straightforward. There's no re spelling. I need to do anything. I can option click my dynamics down since they are the same. No slurs to add, but I will option click my tenutos. Got two horn parts and then the third and fourth a couple bars later. We just need to enter them one at a time. Again, not really anything new here. That's horn one, I'm going to put in my dynamic. There's a slur in bar five, it's a fort in bar six, and a slur in bar ten. Much of this is the same in horn two, so I'm going to select it all option, click again. I can use my lock to duration to modify this. Now I know that went by really fast, but I was changing my input method based on the context. So I had lock to duration. Sometimes I was my Midi keyboard, and sometimes I was using my keyboard shortcuts to move notes up and down. And I was hitting R to repeat certain notes. Much faster to do that than it would be to go back to the medi keyboard and input a few notes. Whatever method works best for you and whatever you're most comfortable with, whatever is fastest, that's what I encourage you to use. Now let's go down to horn three and horn four. They come in in bar six. You'll notice that these horn four parts are a dark red color. That's because Dorico, by default in the view menu, has notes out of range checked. Now these notes are not actually out of range. They are close to out of range, so they have this darkish red color. If I were to push this B flat even lower, like, let's say something insane like that, then it's bright red. Bright red is very much out of range. It's unplayable on this instrument. Then we can input the trumpets three quarter notes, that's all that's forte. Copy this in the bar below command option down to transpose an octave lower. Last thing we need to enter are the cello and bass, and they're doubling the contrabassoon. I'm going to copy that part. Paste it first into the cello. You'll notice that the cello part is written now an octave lower than what it looks like. I copied and remember the contrabassoon transposes down an octave. The note that you see here is actually down here. And that's why when I copy it in the cello, it goes down to this octave below. The double base is also transposing instrument. When I paste it there, it looks exactly the same as the contrabassoon, because this instrument does transpose down an octave. If we go back to cello, you can see all these red notes which are out of range. All I need to do is select this. Use our transposing keyboard shortcut option command up arrow. Now, in these string parts there are no tenuto marking. I'll delete those. Then there's a slightly different rhythm at the end compared to the contrabassoon part up here. The other thing I need to change is at the beginning here, the hello and base are pizzicato, not arco, which would be the default. This is a built in playing technique. I don't have to add it since it's so common shift for the pop over. Start typing pits, copy it there, and our note entry is done. Now that all the notes are in, let's switch to page view. You notice that I already went ahead and changed the project info. If we zoom in a little bit on the condensing here, I want to actually fix a mistake I made. I copied the bassoon directly from Obo one and Obo two. But there is one slight difference in bar four. I need to switch to galley view and make that correction. The bassoon doesn't double Obo one, it actually bassoon two, but on a now in older versions of Dorico, it didn't lay this out perfectly and there were some manual changes that needed to take place. I'm not going to show you those changes here because this document is laying everything out correctly. In the new version of Dorico, or newest version of Dorico, they've solved a lot of those issues automatically, which is really great. But I want to show you how to do a manual condensing change if you need to. For example, let's say there's a bar where I want this to lay out differently. Right now, the Obo two is going down stem for these two notes and then rejoining second beat with Obo one. Which is correct. That's what we want. But let's say it was and I wanted to change it or I wanted to change it to something else. The first thing to point out is I'm in right mode and I'm clicking and it will not select. And that's because these two parts are condensed. The only way to make edits is to switch to galley view and then I can change the notes like I just did down here in the bassoon. If I want to make a condensing change, I can do it in galley view or I can do it here. I can just simply select a different instrument. It doesn't matter where I select, I just need to select this bar somewhere. I could pick Piccolo or something like that. With this selected, I'm going to switch to engraved mode. Then go up here to the engraved menu and you can see condensing change as an option. That brings up this dialog window and it's showing all the instruments that are condensed currently. Let's say we select the Obo one and Obo two parts. You can see I have all these different options for how the notes appear and how rests appear and all different things that you can control manually. Let's say that I want to make a condensing change, a manual change. You'll notice when I click this and turn it on, I have options to reset it, to have no condensing or to have manual condensing. Let's do a manual condensing change here my two oboe parts. If I select Obo one, I have this little arrow to bring it over into this dialogue, which shows me that currently Obo one is associated with the ups stem voice. If I select Obo two, it will come in and I can click and drag it and put it with the downs stem voice. This is currently how it's set up right now. If I applied this manual change, nothing would happen because it's already doing this. But let's say that I want for some reason, both Obo one and Obo two to be up stem and click, okay? Then you'll see that what happens is Dorico rewrites all these rhythms and it looks terrible because that's not what we want. If the nose were behaving in a way that I didn't want and I wanted to flip a stem or do something that was slightly different than what Dorico gave me. That's how I would do it with those condensing changes. I'm going to turn my sign posts on so I can see there's a flag here because I made that change. If I need to make that edit again, I can double click that flag, go down here and just turn that off. That resets everything to the way it should be to view the orchestral parts, switch to right mode. I'll turn my sign posts off. Go up here where it says full score. Notice all these individual parts are automatically created by Dorico. For example, if I take Obo one, now I can see all the notes laid out for this part. Since this is a short piece and we only have the first page of music, there's not a whole lot to discuss. It lays it out beautifully, and there's really nothing for us to do in terms of editing. In a later lesson, we're going to work with a much longer orchestral part and talk about some editing that may need to be done, but for demonstration purposes, let's take a different part, as an example, like the trumpet. This part has 5 bars of rest before the first entrance. We might not really in this context, but let's say it was 100 bars of rest. We would want to give that trumpet player an indication of what's going on in the score musically right before they enter, as a, as a guide for them to be confident with their entrance. And there's a great feature in Dorico called us. Let's go back into this full score view and talk about how to input a first. I'm going to switch to galley view, I'm going to select the whole rest 2 bars before the first entrance of the trumpet. Now I can select anywhere before the entrance of the trumpet. I could make this a four barque, five barque, it doesn't matter, but 2 bars is enough, sufficient for this example. Now I'm going to press Shift to bring the pop over up. I need to select an instrument from the score. Currently that has music in bar four and bar five, that would be a good indication for the trumpet part. The oboes have the main melody, and I'm going to select Obo one. You'll notice Rico automatically grabs the notes from Obo one and puts them in this staff. They're reduced in size to about 65% which is standard Q notation. They've also kept the whole rest. This is the rest associated with trumpet, not with the oboe. That's why the stem direction is wrong. It's going up. It's because I essentially have two voices on this staff. You'll notice I have handles where I can extend the que, and I'm going to do that. I want it to be a full 2 bars. When the trumpet enters, you can see it's full cost and the E goes away. You don't want to queue, normally, you don't want to queue partially into the bar where you have an entrance. Now, this is incredible. In the old days, Es had to be entered manually. You had to have two versions of the score, one for the conductor, which was clean and had all the notes laid out properly. Then you had to make a part score that had all these extra staffs and things so that the parts worked out. It was double the amount of work and you're splitting your documents into multiple versions. Dorico handles this extremely well. This is an excellent feature if you're writing orchestral music or any music that has a lot of rests and you need to add Es. This is a very helpful tool. Now that I have my oboe, I can just select it and paste that same cue into trumpet two. Now, as I said, Dorico is smart. It knows that these are cues and they are visible only here in Gala view, so that I can enter them, but when I switch to page view, they magically disappear. This is the conductor score and they're not going to see those cues. You don't want to see cues in a conductor score, but you want to see them in Gala V. You see that you can edit them and you also want to see them in the parts. If we go to trumpet one, there's our cue and Dorico labels it for us. It's properly notated. Fantastic, good work, Dorico. The last thing we want to do is bring all the music onto one page. I'm going to switch to engrave mode, select the first bar, hold down command, and select the last bar. And then I'm just going to say make into system. It brings it all into one page, switch to page view, and I can view that. Notice that we also need to have a repeat sign. This is looking really good and we're done with this lesson. I'll see you in the next one. 9. Lesson 8: create 3 percussion excerpts: Lesson eight is dedicated entirely to writing for percussion. These examples show the three different ways you can notate for percussion in Dorico. The first example is a drum set with stems going up and down to show different instruments. Then the percussion staff is what you might find in a traditional orchestral part, where your player is switching from instrument to instrument along this first system. And then in the second system, it shows three different instruments at the same time for ease of reading for the performer using this cross staff notation. And then this final example is a percussion grid. This is where you set up your own custom staff, your custom set of instruments, and you can create a little percussion set up. And then the performer reads the instruments based on where they are on the staff, certain lines, or certain instruments. Let's start by creating a document with three solo players. I'm going to give the first player a basic drum set. Just type in drum set and choose the basic version. We'll add that for the second player. I'm going to add multiple instruments. I'm going to start by giving them a triangle. Then you'll notice I can toggle down and see that that instrument is in the triangle. Player. To add another instrument to this player, I simply click this little plus sign over here. Let's add a suspended symbol. Now you can see that it appears down below. Let's keep going with a snare, drum, bass drum xylophone. I'm also going to give multiple instruments to the third player in the same way that I just did for player two. We're going to start with a woodblock Hi drum set I had as our first player or first flow, this is actually going to be our third. Now the order here doesn't really matter because we're not going to show it this way in the score. We're going to have three separate flows. And I'm going to show you how that works in a second. But I just want to keep it mentally organized as we compare it to the final version of the score with the third player I want to write, click on this card and then I want to say combine instruments into kit. Now for now, we're not going to mess with this kit, we're going to come back to this in a minute. But we just want to create the kit now since we're in set up mode, and we'll close this, we want to add two more flows. You'll notice that each one of these is a flow like we did in our second lesson where we had the three movements from the violin solo. We want to do the same thing in our project. I could just do that here in set up mode. Since I'm here, I'll just click quickly and add three Flows. The titles can be just labeled according to what the instruments are. We've got drum set for this. We have percussion staff. Percussion grid. Now you can see I have three flows on three pages, and each page has all three players in each flow. But that's not what we want. We only want the drum set for the first flow and then the percussion staff for flow two, et cetera. To do that, I'm going to select a first flow here. And you'll notice that this first flow has all three of these players checked, which means they'll all appear in the score. Since I only want drum set, I'm just going to de select my other two percussion players. And now it just shows the drum set. We'll do the same thing for our second flow. Get rid of drum set. Get rid of the percussion grid then For this we only want the third one. Let's start inputting notes in the drum set. I will switch to right mode and then zoom in on my drum set staff. I need a time signature, 44 with a one beat pick up. I'm going to add the number of bars I need, in this case ten. I'll hide my sign post. Inputting notes for percussion is different than a pitched instrument. When I invoke the carrot, you'll notice I get a small line for the carrot, and then I get the instrument name above. I have sounds on, so as I go up or down to a different instrument in our percussion set, you'll hear it and the instrument name will change. Now I can find any instrument in my drum set. Simply by going up and down with my Arrow keyboard. You don't really want to use a Midi keyboard for note entry right now I have duration before pitch. If I play a note on my keyboard right now, quarter note is selected. And I just hit an A above middle C and I got this floor, Tom. If I hit the below, nothing happens. I get a kick drum is the high hat. You can see how certain pitches are associated with certain notes in the kit, but I don't know what they are. I'll remember them. You can use this method if you really want. There's a faster, more convenient way, I think that is to just use the Y key. I'm going down to my snare drum here. I can select any rhythm I want. So notice over in the left panel, I'm toggling between 456 for different rhythms, seven for half note, with the rhythm that I want selected. I press the Y key on my computer keyboard, and that will input that rhythm on the staff where I have the instrument selected. The next instrument we need to input is the symbol. We have a high eighth note, then two 16th on the Ride symbol. Again, I'm selecting the rhythmic value I want, and then pressing the Y key to input that rhythm. Now this is repeated in several bars. I can simply select this group of notes and press R to repeat it. Now I can select the whole bar and hit R to repeat the entire bar. I'm going to do that two more times, because that's how many times I need that specific rhythm. Go back in here to bar one. Bring my carrot up. I need a kick drum every once in a while as an eighth note. Now just be careful if you have multiple instruments on the same staff And you select Click to try and get both of these notes selected. And then you press R. You're going to grab all of this and repeat all of it and mess everything up. Just be careful what you're selecting. If you want to do that repeat thing, I have to individually select this voice by holding command down or control. And then I can hit Repeat that only those voice types will repeat in the next bar. Then of I'll copy more of this. Press R to repeat. And now I can edit what I've input because it's not quite the same. Looks like I need to or kick M rather here to make this next bar a little easier, I'm going to switch my rhythmic grid to 16th notes. I think you're getting the idea. I will simply finish inputting the rest of the notes. Now that all the notes are in, jump back to the beginning and put in some dynamics. I've got Metso Forte, Forte, and then my tempo marking shift. I can type for quarter and then equals sine 120. I'm going to undo that and show you a different way. You can also type the number associated with that rhythm. Six equals quarter note then equal 120 for the second flow. Let's put in our time signature. Add our bars. We need a total of ten. I added ten, but now we have 11. This might be a good opportunity to show you the system track. We haven't used this at all, we've been ignoring it. Option brings that up. There are actually many useful things that the system track can do. One is to delete bars like that. I can also use it to put a stop for insert mode. What this means is if we're using insert to push rhythms to the right, and we are expanding a rhythm here, this would stop the notes from going any further. Beyond that, this is a really useful tool, particularly to protect any rhythms or things you have on the other side of it that you don't want to get messed up you're inserting, you can turn that on and off. With that, you can also add a bar by clicking the plus sign. I got to show you another way of removing a bar. I can simply type shift to bring the pop over and then type negative one and have it erase that bar. I don't need the percussion staff and flow two functions differently. Each instrument is on its own staff, but will only appear in the score if notes are present. This is how an orchestral percussion part would work. Additionally, Dorico will not only show the necessary staves, but add instrument labels and change instrument instructions automatically. An incredible time saver using duration before pitch is faster. In this instance, I'll use that setting. Let's start by entering the bass drum. And then I need my suspended symbol. Make that a half note and press Y. You'll notice in the original score I have this resonance slur. Or let vibrate slur, or Les vibra, if you're French there in the Properties panel, Les Vibe close that panel. Bar two is completely empty as is bar three. Bar four is in the snare drum. But you'll notice again, in our original we need this time signature 88, which is unusual. Time signature 88 allows us to combine the notes into different groups from the usual 44 pattern of 44 notes, which would then be two eighth notes in each beat. Here I can have three eighth notes, the two then three again for a total of eight to input 88 shift M. And I could simply type 88 and I get the 88 bar. But I'm not actually communicating how I want the bar divided up into groups. I want to specify those beam groups in this asymmetrical meter. If I hit enter and get back into my time signature, pop over, I'm going to type left and right bracket. And then inside those brackets I want to write three plus two, plus three. Now when I input the notes, it's going to show those beam groupings. Let's go back into the snare drum that shows the groupings that I want. The next bar is 54. Same thing here. I can specify how I want these notes to be grouped by default. If I don't do anything and I start typing in some rhythms, you'll notice that Dorico, as a default for 54, does a grouping of three quarter notes, then two quarter notes. I don't want that. I want it to be each individual beat of the 54 stands on its own. To do that, open up my time signature. Pop over. Delete the five. Use our brackets again. Then inside of the brackets, I want five individual quarter note beats. I type one plus one, plus one, plus one, plus one. Then the beaming is the way that I want back to 44. The next note is in the triangle. A half note on the third beat also has a les vibra tie. Now we can input the music for the xylophone, and that has some interesting tuplets. Going on to input our nested tuplet, I'm going to select this bar. Bring up the carrot. Move to the second beat, which is where our couplet begins. I need to make sure I'm not using pitch before duration. If this is blue, make sure that you deselect it. Now I have quarter notes selected. Right now I want 16th. I press four. Now I'm prepared to set up a 16th note quintuplet. Press the semicolon key for the tuplet, pop over type five, colon four, and press return, then input the first two notes of the zylophoneuplet. Zylophone is a transposing instrument. It transposes up in octave, so we have to enter the notes and octave higher than they're currently written. Press the semicolon key again to bring the pop over up. This time type four, colon three, press return. You can see there, it put the other couplet there, saying that there are four 16th in the space of three. Now I just play the notes. Now if I kept entering notes at this point, I would still be entering the tuplet that I just specified. So I'm going to hit Escape to make sure I turn that off. Then I'll bring the carrot back up. Make sure that I select 16th note. Open my tuplet, Pop over, I'm going to type five, colon four, and then press return. There you can see I have a quintuplet, but the nested tuplet begins at the beginning. This time before I enter any notes, I'm going to bring the tuplet pop over up one more time and type three in the space of two, then return. Now I can play those first three notes. The tuplet three in the space of two is still selected. I can simply click that to turn it off. Now I can enter the rest of the tuplet by just playing the notes. Now I can finish the notes in this bar. Since I had 16th selected, I just played them and they popped in. And now we're ready to move to the next bar. You can see here in the original that we've got zylophone notes and then cross staff notation here on the triangle. Back in the score, we're going to enter the notes in the zylophone. I'm just going to enter them as three C's in a row. Then the, this second note, we're going to move up when we get into page view. It doesn't really matter what pitch it is because it's going to be on the triangle staff. Next I have an eighth note triplet, so I'm going to select eighth note first by pressing five semicolon to bring up my tuplet pop over type three, colon two, press Enter. And now I'm ready to play my notes. It escaped to turn off my carrot and cancel that tuplet. Now we can enter the rest of these notes. Pretty straightforward. We have a D quarter note, so I'm going to select six and then play the D and the rest of those notes again. In this last bar, we've got one note on the zylophone, one note on the snare drum, and we're going to input both of those notes on the zylophone. And then move one of them later. Select five for eighth note. To move the note, all I have to do is select it and press N until it goes to the right staff. I want it to go to Snardrum. There it goes. We also had one earlier, this second 16th. I need that to be on the triangle, which is the top staff. I'm pressing N and it looks goofy here, but it'll look a little bit better in page view. Switch to page view that looks roughly like our original. We're going to be doing a lot of formatting to get it to look nice, but you get the idea about how this is working. Let's switch back to galley view now I can input our dynamics and other markings for the bass drum piano. For this snare drum, I want to crescendo from pianissimo up to Forte and then back down to triple P at the end here, I'm going to do just the first half, select this entire bar, shift D, PP, and then the crescendo symbol. And then type. And remember that Dorico knows where to place the dynamics based on my contextual choice. The PP is going to appear on the first beat of the bar. And the forte, since I have the whole bar selected, is going to appear at the end of that selection, which is the downbeat of the next bar. Then I can select this first beat, where the forte is. Now if I select this note and have this whole group, and then do my diminuendo to triple P. The triple P is actually going to appear here on the quarter rest again, because I have this selected, the dynamic would appear at the end of my selection. I want to deselect that, make sure that this is the endpoint. Now bring my pop up over diminuendo triple piano on the triangle. For the xylophone, we have fortsMO at the beginning. Diminuendoing all the way to a piano. On this, again, hold shift and click the A, make sure this triplet is not selected because I don't want it to go past and do on the quarter note hold down command. And then click to select that without losing your other selection shift. D Diminuendo. Then we have a crescendo to Fortsmo. In this bar, we have accents on both of these notes. If I select the beam, you'll notice that I grab all the notes in that group and then I can do them altogether. Then we need to put a text marking. Now this is a spot where text tool is perfectly adequate. I could create a playing technique but there's really no reason to do that. Text in this spot is perfectly fine. It's a one off, it's not involved in condensing or anything like that. I'm just going to type white note, Gly that's big to my eye, so I'm going to shrink that down. Let's make it eight point. It looks pretty good. To create our Glysondo lines, we need to go over here to the right side panel and click the line tool. Up here at the top, it says start and end. And that's how the line will attach to the notes. You can attach from a bar line to another bar line, from a notehead to another notehead, or from a position in the bar to another position in the bar. One of these other options. For our purposes, it does not really matter at all because we're going to be doing a lot of manual editing. One way of doing this is to select the note, and then go over here and click the line tool. By default, it's set to attach to rhythmic positions. It just goes from this note that I had selected to the next available note. The length of that line is about what I want anyway. I won't have to mess with it too much in editing, this is the methodology I'm going to use. Just select the note, then the line, then we'll do all the fine tune editing. At the very end of the process for our percussion grid, we're going to have 2 bars of 68. Before I start entering any notes, I want to make some changes to our percussion kit. I'm going to switch to set up mode, and then I'm going to open the card for percussion three here where it's green, that means it's a percussion kit. Meaning we've combined all the instruments to a kit that then it can appear as one single staff and all the instruments share that same staff. If I click on the three dots, I can edit the percussion kit. You'll see that there are these instruments all on the same line, but this is for a five line staff. We're actually using the grid. We've got our different instruments, you can see how they correspond over here in the staff. You can also set it up as a single line instrument, the five line, you can have notes on spaces and some on lines, and change their note heads and all various different things. We're just going to make a couple of changes here. We're going to click on Grid. We're going to change the stem direction for a couple of these instruments to help the layout look a little bit cleaner. Let's start with the brake drum. You can see here that the stem direction and voice, it's an up stem. Voice one, I want it to be a down stem. I also want to change the bongos and the tom in the same way. Then all I need to do is click Apply and close. Let's go up here to the wood blocks and enter these. Now you'll notice when I entered that brake drum, the stems automatically went down. If I didn't separate the stem direction, the tuplet would look really odd with the rhythm that's happening above in woodblock two. This saves us a little bit of a rhythmic headache. By switching the stems to enter this tuplet, make sure you're on beat two of the 68 bar. Go down to the to make sure that eighth note is selected, press five. Then the tuplet pop over. We have a single beat which is three eighth notes. And we need to fit five in the space of three type five, colon three, press Return. Now I can enter these notes. I'll press the Y key. We have to input the tuplet in the same instrument, and then we're going to move the notes after the fact. I'm just going to repeat y four more times. Now I've got my couplet. Now I can move these notes using my short cut, option up arrow or option down arrow. Now we can go up here and input the rest of our top voice instrument, the woodblock two. Now I input that on the wrong beat by mistake, but it's an easy fix. I just need to slide it over by two. 16th, I have that selected in my rhythmic grid. All I need to do is hold down option and then use my right arrow to nudge that over. Now I'm going to enter this fanned beam. This is not going to work for playback and what we're doing is essentially filling a bar with 64th notes, and then applying the fan beam effect after the fact. Then that tells the performer start slow and then speed up as the number of beams increase. And then become slower and slower as the beams converge again. And Dorico allows us to do it very easily. I'm going to input these as 64th notes. Press two on your keyboard, and then input the first group of four. Now grab that and press R to repeat. Grab this whole group, and then press R. Grab this whole group and press R. And then do it again to fill the bar. Now to create the fanned beam, I'm going to hold down shift and click and select all of these. Then right click, go to beaming, Create fanned beam accelerando three lines. You notice it starts at the beginning. It goes to three by the end. What I want is at a midpoint, somewhere around here for the direction to switch and start going back down with this note selected. Bring up the properties panel and then go down here to where it says change fanned beam direction. That looks pretty good to me. Here we can enter our tempo marking eighth note, or I could type five, which stands for eighth note equals 80. Now we can switch to page view and see what we've got. It's looking okay. And I noticed here for percussion two, we forgot our tempo there, which is quarter equals one oh eight, shift six equals one oh eight. By now, you should be getting comfortable with how to make simple but effective layout adjustments using layout options. It may look messy and it may look like this is going to need a lot of work, but in fact, we can make a few button clicks and this is all going to fit and it's going to be a few minor adjustments. After that shift command L, first thing we want to do is allow flows on existing page, then let's change the rastral size to something like seven, just like that. Everything is now on one page and looking quite good. Let's get rid of our flow numbers. Let's also change the title in our project info. There's actually only a few edits we have to make. The first you'll see there's this collision between suspended symbol and two snare drom. I could simply switch to engrave mode, this is already highlighted. And just use my shortcuts option up arrow or shift option up arrow to move a little farther then avoids that collision. Let's do our arrows now. We can grab this square and we can move the end of the arrow anywhere we want. Or we can use keyboard shortcuts option option up for slight movement and then shift option for a larger movement. We just need to get approximately near the note head. And these guidelines that doc four provides are really nice to help you line things up. I also want the angle of the glissando to be somewhat consistent. I wouldn't want this to be a glissando for this note and then this, for this one. It just goofy and it also indicates maybe it's a different kind of glysondoust. Imagine that xylophone player is going to be reading this at site. Any slight difference in things like this can actually be quite distracting. We want to give them a very consistent look. Needs to be adjusted a little bit. The triangle seems to be quite far from the snare drum, and these gaps are just unnecessarily large. Let's go over here to the left side panel and select staff spacing. And I'm going to select the middle one and bring it down option, shift down arrow to me, that looks pretty good. We may need to move it again after we move this. I think the distance between these staves looks better now, but this beam seems awfully high to me. I can go to engrave mode, make sure graphic editing is selected and use my shortcuts, or I could click and drag. I like that below this line better, but now this looks too high. It's just minor fiddly adjustments and now it looks too far away from this stave or system. Rather I think that looks better. Oh, we forgot our resonance. Slur or let, vibrate or vabre on this note here. That's important then for the percussion grid. I think everything is as it should be. Assignment eight percussion is in the bag and we're ready to move on. 10. Lesson 9: create a string quartet movement: In lesson nine, we're going to notate the fourth movement of Anton Webern's five movements for string quartet. Since this is a complete movement, we will be able to take a closer look at parts. And we'll also delve a little into print mode. Let's get started. Instead of adding our own players to a project, let's go up to file new project from template chamber and then string quartet. Switch to galley view. I'm going to turn off my system track input a 34 time signature shift M four. Now there is no key signature in this piece. This is an a tonal piece of music. Bring up the key signature, pop over and type in a tonal, going to hide that sign post. Then I'm going to add 12 bars, shift B. 12 note entry is going to be pretty straightforward. What's different from previous projects is that there's a lot of information in the score, text dynamics, tempo markings, et cetera. Getting everything to fit and look correct will take some time and attention to detail. First thing we're going to enter is the tempo marking shift. Then we'll type in the tempo character marking. Lang zam for eighth note equals 58. That looks good. Next we want to input the text, mit dem F, which is German for with mute. We're going to create a new playing technique so that we can get both the correct text but also correct playback. This is one of the advantages of playing techniques compared to plain text. Before we enter this playing technique, let's go up to Library and then go to Font Styles. And then we need to find the playing technique font. By default it's set to size 11. For this score in particular, that's pretty big. We're going to shrink that down to nine and then click okay. Now let's create our playing technique. Go up here to Library Playing Techniques. We're going to click New. We're going to call it mit mow. We want it to appear as text. We want this A to have an umlaut. On a Mac, you can do that by holding option and then playing the key that you want the umlaut to be above using the playing technique font, which I just change the size, this is what it's going to look like. The power of playing techniques is that we have more control over what happens. It's not just a text indication in the score. I can also change the playback technique. It's set to natural by default, which is just normal playback. But we want it to be muted. I'm just going to scroll down and find muted. Now whenever we put Demfer in the score, the key switch inside play mode is going to flip to the muted patch. We'll actually get a different sound depending on which VST or audio engine you're using. Setting it up this way, just save any of that manual editing in play mode later. Now that we've created that playing technique, it can actually be found over here in the playing technique panel, Right up here under common Mitdmfer. I can click that and it will load it wherever I had it selected. Of course, as we've done before, I'm going to hide this. I can do my pop over shift and then start typing Mm, There it is now I can just copy that into the other staves, holding down option and clicking it in what we have here, first and second violin is a tremolo that fills one beat on beat two of the bar. We need to put in E and C as eighth notes to fill that same amount of time. And then we can apply the tremolo and it will change how it looks. I'm going to hide bar numbers for now. Just to give me a little bit clear view. Bring up my carrot. Go to beat two. Press K for pitch before duration, and then can put in my notes, select those, then go over here to the right side panel and hit the Repeat Structures button. Then over here in tremolos, you can see I've got two different kinds. We've got a single note tremolo, going to have the player repeat that same note at this specified speed. Then we have a two note tremolo, or multi note tremolo, which is going to oscillate between the two pitches. At this speed we want the four stroke. I can close this panel and then I can apply my other markings to this. And then I'll copy it into violin two to save some time. We need a slur, then we need to let vibrate. I'm going to copy this whole selection to beat two. While I'm at it, I'm going to select both of these. Then I need to copy it on beat one of bar two. Then of course change the pitches. The first violin goes up to sharp. I'm using option up arrow and then the equal key to make it a sharp. Then option down arrow to make the C A B. Then I can use my keyboard arrows to navigate, which is often quite fast compared to using the mouse. Then for these notes, I just option down arrow to, then option down arrow to C. You'll notice that all the notes in the original have accidentals on them. This was the convention used by the second Viennese school in the early 20th century, and Dorico has an option for this. We can find it in notation. Options, command shift, right here, up in accidentals, right at the beginning, you can see there's a second viennese school button. I'm going to choose that and apply it now. All my notes have accidentals on them. The text Amtech is German for at the bridge, or Sol Ponticello in Italian. To input the text and dotted continuation line, we're going to create another playing technique. Now here in the playing techniques window, you'll notice we have different categories. If we click on the string category, we can see all these different options, one of which is so Ponticello or so Pont. But this particular piece by Bern uses a lot of German for its indications. What we're going to do is select so Ponticello, then we're going to edit it so that it will appear as Amtech. First thing we'll change is that text from so Pont M capital S TEG. Then here for continuation, we want to change the duration line from solid line with an inward pointing hook to a dashed line short with inward pointing hook. Now I can change the pop over text to also be omsteck so that when I go to search for it in the pop over, it will come up as amsteck or we can leave it as soul pont. You just would have to remember that, but we're not confused. I'm going to change this as well. Now I can. Okay. Now I can select this group of notes. Bring my popover up Shift P type in Amtech, there it is, with the continuation line attached. Now I'm going to select this technique and then hold down option and click violin two. And you'll notice nothing happens. And that's because ledger lines are not on the staff and there could be a note that's low on the violin or high on violin two. It's not clear which staff it belongs to. If I'm just clicking, Dorico needs me to click in the staff for it to recognize it with this selected hold down option. And then click here in the top space of the staff. For that to copy over here at the end of bar two, we need to input some pizzicato chords in the first and second violin. Obviously, we can do that the same way we have been doing it with the medi keyboard. Just play your notes and then press the rhythm. But let's say that I've input something and I want to go in and change it or add a note to it. How would I add a note above this C and E? One option would be to invoke the carrot, press lock to duration. But there's another tool I want to show you called the interval tool. Let's delete all of this. And I'm just going to put in that bottom note. Let's say, oh, I forgot to put the above. I can invoke the interval, pop over shift with that note selected. Then all I need to do is press three. This is going to add a third above the selected note according to the key signature, which in this piece is a tonal. It's just going to give me a major third. By default, the E comes in if we do a B in the second violin and then shift again, because this piece is atonal. If I press five, it's going to find that fifth note above, which is an, which is what we want. But let's say I wanted an F sharp. This is where I have to be more specific. And I'd have to call for a perfect fifth. Or I could do a note below the shift. Let's do a minus three. It's a below. I can also do more than one note. Let's do a diminished triad. I need a third and fifth above, press three, and then, and then five. If I wanted it to be minor 35 for perfect fifth. As you can see, this might be a really helpful tool in certain instances where you just need to add a single note and you don't want to bring up the carrot. Do lock to duration and replay something can be quite handy for edits like this. Now that these notes are back in as they should, just going to add a couple of tenuto markings, then I'll add my pizzicato. Now I can enter the cello and viola notes in measures 1.2 Third beat in the cello. Then of course to add the slur. And then for my dynamic shift, I know that it's going to crescendo to the sharp and then diminu'ming, add this to the E and then F sharp coming down like that. Then we can add our markings to the flats in the cello. Then select both open up properties and add the resonant slur. There's not much new in the next few bars, in terms of note entry, I'm going to speed this up and then stop here and there To discuss a few things here. I need to cancel the pizzicato with an Arco symbol, and that's found in playing techniques Shift Arco. This next text indication is in German host zout close enough. To do this, we need to input a couple of special characters. I'm going to use the text tool. I could create a playing technique or I could use the text tool. Either way. For the text tool, just type a and then for the hold down option on a Mac. And press and then press again to input the letter. The next symbol is option, and then the rest of the characters. Now this is default size text. It's a little bit big. I'm going to change it to nine point, which will match our Arco indication. And then I also want to make it italic. Next, I'm going to input the file in one part here in this bar, and show you some issues with the dynamics here. Now this dynamic at the end of the bar is no problem. Select the D in the C sharp and then diminuendo. Now here, if I were to select the C, I need a crescendo to the. If I zoom in here, we can see the final product. I need a crescendo from up to, and then dim down to the C. If I select the shift and then type three Ps and then the crescendo, you'll notice that nothing appears. And that's because the spacing here, the distance between these notes is so short. Dorico doesn't display the hairpin, but it's there. If I were to select the PP and delete it, the hairpin suddenly appears. I'm going to undo that. Let's switch to page view to see what it looks like, So I can see this measure a little bit wider. I'm going to do a system break now. You can see that that hair pin is there. When I move that measure down, we're not going to adjust anything because it's there. It's just that in Galli view, it's a little cork and it doesn't appear just don't be thrown by that. Now, back in Galli view, I can add my hair pin down. Now here I want a hair pin to start on the downbeat where the F sharp is. I don't want it to start here to beginning. What I can do is bring up the carrot and then place the carrot where I want the dynamic hairpin to start. Press shift type my hair pin. And then hit Enter. And you notice nothing happens, but what essentially is going on is the carrot is loaded with that hairpin. When I press the space bar, it will advance the hair pin to the rhythmic grid so I can press the spacebar to go to the next beat. And there you can see the hair pin. This is how you would input hair pins in the middle of a long tie chain. Instead of doing the selecting the node at the beginning and then putting in the hair pin which would put it the full length of the tie value. Simply use the carrot. And then you can control where the hairpin goes. Now here you can see in this bar, Dorico is beaming all the way across the measure. There's two ways we can solve this problem. One is to select the F sharp right click and then go to beaming. And then select split beam. The other way of doing this is to go into notation options, command shift, and then go down to where it says Beam grouping. Then you'll actually see the first option available is In 34 time. The default is to beam across the whole bar, whereas we could show individual beats. You could select this. Now this would be document wide and it would affect any bar that has this beaming. And then we don't have to manually overwrite it when you can. It is always a good idea to find a setting in the notation options or engraving options, or layout options that gives you the result you want. And then you don't have to manually overwrite it every time, apply that, That gives us exactly what we want. You'll notice here that, that setting broke to beam here. But in our original, the cello is beamed as a group of three eighth notes. You can also see it up here that it's beamed as a group of four eighth notes here. There's a little bit of modification that we have to do for this particular spot. In this particular document, there's going to be some custom beaming based on the way that this particular piece is engraved. But again, use your document settings to get you close. And then from there you can do your manual edits as needed. Again, to beam these together, just select all your notes right click to bring up the contextual edit menu and then go to beam together. You could also set up a shortcut for beaming together. If you're doing it a lot or use the jump bar, you notice that our original needs a rehearsal Mark. To input a rehearsal mark, select the spot where you want it and then simply press shift A. Now you notice that by default it comes up as a letter. And we can change the way rehearsal marks are displayed by going to engraving options. Shift command E, type in rehearsal marks, here in sequence type, it's set to letters. I can change it to numbers. Let's see what that looks like. That gives us a number one. You'll notice that we need a number five. And that's because this is measure five. Let's change it to bar numbers. See what that looks like? That's better. You can also change the way it displays the distance from the staff. You can also change the style of the box. All this is customizable. Feel free to play around with that. We're also going to input a gradual tempo change, the ******, which lasts for about a bar and a half. It starts on this D and it goes to the end of this bar, and it returns to an tempo here on the downbeat. I can select all of this and then shift. This is the same dialogue we use for tempo markings. And then type RIT, it gives us this continuation line. By default, this is optional. We can change this. Let's say for example that I want a dashed line. Command eight in properties panel line style, we can make it dashed. I think that's what our original looks like. Indeed, I'm going to leave that set the way it is. Then here on the downbeat, I need an ad tempo. Then you notice that the alignment doesn't look right. Again, don't worry about alignment or any type of fine editing yet. We'll do all of that in page view when we start laying out the full score. Now, learner the second violin, 16th notes. Remember, it's always helpful to change your rhythmic grid to the rhythm that you're working with. I'm going to change the 16th. Remember a quick way to work is to copy and paste. I'm going to grab this German indication and just hold down option and then click right there to input it here. And then I can double click it and change it. If we take a look at the original, you notice these triplets in the viola part. I'm going to input a triplet here on beat two. And then I can copy and paste it wherever I need it and delete notes. I'm just going to go in here and go to beat two. For this one, I'm just going to do eighth notes first and then I can select those three eighth notes. Dorico guesses what I want, which is correct, three in this time of two. Press Enter. I also want to apply the staccato so that when I copy this, they will come with. Now you'll notice I have this beam selected and it grabs all three notes and the articulations. If I were to hold down option and then click to copy, you'll notice it only copies the eighth notes and that's because the triplet was not selected. You need to make sure it's a separate entity from the eighth note beam. I have to hold down command to then also select that. Now I can click Option Click wherever I need that or I can simply hit R to repeat it. Then I need two more triplets and then we'll modify them with all of this selected. We'll hold down option and come back here to the first beat. And Dorico automatically puts the eighth rest while we here, let's put in the pizzicato. Then you'll notice in this bar Vaber, and start spelling it as a flat, we need to use option equal sign to respell that note. Now here the notes are a little different. I can use my lock to duration feature. First, I'm going to delete this one. Then press Return for the cat, L for lock. Then this A flat is the only other one we need and it's correct. Or B flat, rather. Delete this one and then delete this one. Then we just need another D, A note at the end of the bar. Now we need to put in this cello harmonic, it's a touch fourth harmonic, meaning you play this bottom note with one finger and then lightly touch this note. That's the diamond. We're going to start by putting in the lower note. I just put in a whole note value. I can extend this length by using my shortcut shift option, right arrow, that's moving according to my grid, which is set to 16th. I could of course change that and speed this up, but that's okay. Now to turn this into a harmonic, open up the properties panel. Go to harmonics. You need to toggle on the type artificial is selected by default. Then I need to change the partial. By default, they give us a second partial. I just need to click the up arrow twice to get to the fourth partial. Now that that's done, I can add the dynamic. Then I need a hair pin starting on beat two in this bar, going down, we did this before, bring the carrot up and then move into the correct rhythmic position. Then bring the pop over for dynamics up. Shift D, diminuendo, press Enter. Nothing happens but if I press the space bar, it appears. And if I want to extend the length of that diminuendo, I just need to hit space bar again. I need the same hair pin in the second violin part, Select that hold down option, and then click in the second violin part. Now the rest of the piece is pretty straightforward. There's nothing new here we haven't done. We've got rehearsal mark a tempo making more *******. And a tempos, we've got touch fourth harmonics here, quintuplet triplets. None of this is new or different than anything we've already covered. I'm going to speedily enter all of this and then we can move on to formatting the page now that all the music is in. Let's switch to page view. You notice that I changed the project info to show this title. I renamed the flow Roman numeral four and got rid of the number and added the composer's name. Now this layout two page is not too bad, but we're going to make it look a lot cleaner. We're also going to fit everything onto one page. To do that, we need to go to layout options. We're going to change the rastral size from three down to seven. Let's see what that looks like. And it looks pretty good, but there's more that we can do here. Go down to vertical spacing. We want to change the staff to staff size from six up to seven. Then while I'm here, I'm going to go down to minimum gaps and where it says automatically resolve collisions between adjacent staves and systems. We want to uncheck that. The reason that that's on by default is it is extremely helpful in normal situations for creating space between systems and avoiding any collisions. Collisions in most circumstances are very bad and you want to avoid them. We want this turned off because we want to manually space everything very tightly. Apply these. Notice here it's looking a little bit better. We're going to manually adjust things in a minute. The other thing we need to do is put the instrument name in these subsequent systems. Normally, we have these turned off. If I go to Staves and systems, staff labels on first is on staff labels on subsequent, let's make that abbreviated. We also need to change the margins of the page to better match the original. We'll go to page set up. We're going to change the top to six, the bottom to ten, and both the left and right to 20 millimeters. Now let's take a look again at our original and you'll notice that it's laid out in four systems. Ours is currently only laid out in three. Additionally, their text seems to be a little bit bigger and more readable for the size of the staves. And our seems a little bit small and puny. What we're going to do is adjust the font sizes and the layout to make it look a little bit closer to the original. First thing we'll do is we'll make our four systems. Let's switch to engrave mode. I could move measures down and up as needed, or I can create the systems that I want using the Make system button here. I'm going to this note in violin two, hold down command. And click this note in violin two in this bar. And then with these selected, now I can go make into system and Dorico will automatically make those 3 bars our second system, which is what we want. Then I can do this again for these 3 bars. I want this start of the viola up to the end of this right before rehearsal ten. Make into system. Good. Now I need to force this all onto one page. So I select the beginning, hold down command and select the end and then make into frame back in engrave mode. You can see we've got this copyright info at the bottom which we can get rid of because we don't need it. Let's go to our page templates and double click on first page. We're going to delete this and bring our music frame down. The first thing I want to do is give myself more room at the top of the document. I'm going to select the frame tool over here and then grab this blue music frame. I can get the tab key. You'll notice this upper left square lit up. If I toggle that, I can turn that on or off, and then use my arrow key once it's on, to select the corner or the top that I want to adjust. That's often a little bit easier than trying to click here and then click in a different box. Keep those shortcuts in mind. Now I can hold down my shortcuts for moving things in graphic editing mode. Shift option up arrow, that's looking a little bit better. Remember the preview button, the apostrophe or tilda key. That's the print preview. So I can see how that lays out without having to switch modes. I think that looks pretty good. We may need to move it just a little bit more. I think that's pretty good. Before we start moving the staves and the systems around, I want to adjust the size of the text items. If you go up here to library, you'll see Music font styles, paragraph styles, and character styles. Why do you have paragraph styles and font styles? The way that Doric describes this is really that font styles are used in notations that use text, but aren't literally text like dynamics, playing techniques, fingerings, et cetera. Whereas paragraph styles are used in text boxes and things like that that are not notations. For example, titles, the name of the composer, or the flow heading. Things that are more purely just text and not score items closely associated with music. Now this is not always going to be really obvious that it's divided. That way you may find yourself going to font styles and paragraph styles getting confused a little bit. But that hopefully helps at least explain a little bit of what Dorico is thinking, a lot of what we want to change, since they are playing techniques and tempo marks, and things that are musical items. We're going to use the font styles, dialogue. You can see here is quite a bit of stuff in here. We want to start changing some of these. Really, the best way of doing this is just by y. I'm going to go, let's start with playing techniques. That's going to be like Mitch Demfer, Amtech, et cetera. Right now it's set to nine. Let's bump this up to 11. More readable at the size I like that. Let's go back in here and we can change things like the immediate tempo text font. Immediate tempo is something like Erlang. So right here, let's increase that to 12 size bold. I think a little bit bigger, maybe 14 or so. Just so you know, this is all staff relative, meaning our is much smaller, we're changing the size of the text in proportion to the size of the staff. If I set this to absolute, it would be 14 point regardless if the staff were huge or if the staff were super small. In general, you want to leave it on staff relative. I think that looks better. You'll notice that the tempo is bigger now, but the ****** is still small. That's because it's a different category. It's a gradual tempo text. Set that to 14. Now those are looking better. Remember we need to change our dotted lines from dots to dashes. I forgot to do that earlier. Notice that this dotted line is not quite touching the A tempo and that's bothering me. I want to change that now. You may be noticing that the italic German indications still small and they don't match the size of the other text items. Way back when we put these in, remember that we use the text tool and we made it italic and change the font size and did everything manually early on in the process. That was a bad idea. I did it then to show you what a problem it's caused for us. Now, we should have made a playing technique, or we should have made a paragraph style that we could then apply and then update easily with a click of a button. But since we didn't do that and we have these manual edits, if we wanted to make this a little bit bigger, I'd have to go in here and manually adjust it. Right now you can see it says 6.2 which seems like an odd number. If we go up to library paragraph styles and then find default text, it says 12 point. It should be 12 point because this was default text. You can see it right here. What we did though is that we made an edit, we turned it into italic, and that overrides the connection with default text. This is no longer default text. This is now a custom thing, if you will. We have to manually adjust it. What we should do at this point is create a paragraph style and call it something. Let's call this expressive text. Now we can set it to exactly the size and formatting that we want. Let's leave this at 12, and we'll set the style to italic. Then we go back into the score and select this. And now we can go to our expressive paragraph style. You can see it's way too big. That's because it's set to absolute. We want it to be staff relative, that's better, but it's still too big. I think we set playing technique to 11. Let's change our paragraph style to 11. Beautiful. Now this is what we want them all to look like. Again, if I had done this at the beginning, all of these, assuming that I used the same paragraph style, would have been updated. Now I have to manually do it again, Select that and then just go to expressive text. And now it's fixed. Now we can go in now that everything else is done and do our final nudging and manipulating of the score. When formatting a score like this with all these collisions, I like to work at the top and work my way down. Switch to engrave mode, then I'll switch to my staff spacing tool. Then use my shortcut shift option, down arrow for larger jumps. And then just option up and down arrow for fine tuning. You notice this mit dem fer indication is pushing our amtech up a little higher than really it needs to be to save space, I'm going to grab both of these. I'm just going to select them both while holding down command and then using my shortcuts shift option, left and right and down and up. Just going to move these perfectly legible here. Then I can bring the omsteck indications down much closer to the notes. That looks better to me. Now, the original shows these dotted lines as ending right at the end of the note value. I'm just going to go and grab these and bring them back. Now you can see I've moved down second violin, but it's lower than it needs to be. I can go back over here to note or staff spacing rather, and bring this back up. As I'm working top down, I'm tightening up the spacing as much as possible without creating any collisions. There's no need for me to be down this far, to have all this white space. White space is the enemy of music layout up here. It's unreadable and the collision is terrible right there. That looks really good. Switch back to my graphic editing tool and then I can grab both of these and then slide them over so they're aligned with the first and second violin. That's looking pretty good. I can tighten up the spacing between viola and violin two, as well as maybe a little bit between the cello. Again, just go into staff spacing. You can move in large increments now even though there is no collision between violin two and viola. To my eye, this looks too close and I don't like the look of it. Remember, at anytime if you have a box selected and you want to remove the editing you've done to it, just select it and then hit Delete and it'll return to its default position. But I think a little bit higher here. Remember I need room for my other systems further down on the page. I do want to nudge this, of course. I'm looking over here and I see the C sharp. It's getting a little bit close to these dynamics, but at the same time these dynamics can be moved up a little bit. Holding down the command key, I'm just going to grab all of these dynamics and then nudge them up. I think I can move the cello up just a little bit. Use my apostrophe key to preview. I think violin two is a little bit low. Pretty good. All right, let's move down to the second system. Same process here. I'm going to start by moving the entire system up. You notice the larger box, Bring that up, which gives me a good amount of space to work with. Now you can see here, I'm going to switch to right mode, that this dynamic is orange. And this is blue. What that means is that when I select this, these two are grouped together. It is not grouped to this hairpin. And you can see if I zoom in here, that they are not quite aligned. If I want all the dynamics to be on the same plane, I can group them by selecting this and holding down command. I'm just going to click through all these dynamics, then click Go to Dynamics and then Group. And you can set up a shortcut for this, of course, or use the jump bar. Good, now that's obviously too low and it's colliding with violin two. Let's create a little bit of space here. I'm also going to move the German click and drag that. Just move it in a little tighter if I wanted to, and I might as well show you, I can grab this slur and I can manually move it up just a little bit and that will give me even more space to work with for my dynamics. Again, I can select them and then nudge them up. Cello that's got the most collision going on. Viola is not colliding with violin two. That's looking pretty good, but there is something going on that I don't quite like. It's the fact that Meck here in the viola is obscured by the bar line. If I select this and then open up my properties, you'll notice that I can erase the background. I can adjust the padding of the eraser. I could do for the top, I could have maybe a little bit less for the bottom. A little bit more, depending on your taste and what you need. I think that looks pretty good. I'm going to use that for anytime there's text lying on top of a bar line. Let's bring the cello down and see what we've got here. Clearly, these dynamics are causing a little bit of trouble here. They're a little far down. Let's switch to graphic editing and move this slur a little bit higher so that then I can move my dynamics. Now I may want to group these first I'll switch back to right mode. Then I can group these dynamics and then switch back into engrave mode and then move them together. Now personally, I like to have the dynamic aligned with the hair pin. It's not strictly required, but I think it looks a little bit neater. And it's certainly possible here because I have plenty of space to work with now. I can bring the cello back up. I think that's looking good. The dynamics in the cello also lined and I'm okay with that. Let's continue working our way down. Now, there's a little bit of space above the staff here for these markings. We could move them down. I'm going to bring those down, switch to engrave mode. I'm also not a huge fan of slurs cutting off the top of an accidental. I'm like I either want to cut through the accidental or float just above it. Now since there's room above, I'm going to have it float above. I think that looks a little bit better then. I'm just buying myself a little bit of extra space here, tightening things up. You know, it's not terrible, but it does look a little bit like the ****** is potentially adhering to the staff above. Bringing things down closer to the staff that they are referring to is always a good idea. Now these dynamics look pretty close, but I'm going to group them all together anyway. Almost didn't make any difference, but at least now they're linked. I want to bring them up closer to the staff, so that I can move the second violin up a little bit. I can bring my viola down a little bit. Notice that I'm colliding, or almost colliding over here. I just want to be a little bit more breathing room. Since the cello is low in the staff, there's no colliding with the viola. I don't have to worry about that. Now I'm clicking between these boxes. But you can actually just use the arrow key if you have a box selected. Pressing the up or down arrow will go to the next adjacent one. You'll notice though, when I press up arrow, now I'm currently on first violin jumps to the next system. And that's because I'm selecting individual staves here. If I select the system up here, and then use the up and down arrow, it will jump to the next or previous system. Just keep that in mind. If I press Tab, then I will jump to the next box, down or up. This is a handy way of moving without having to go back and forth between the mouse, I think, bring the ****** atempo down a hair, and then move some systems around, or staves around. In this case, I can tell things are rather tight. I want to get the second violin as close to the first violin as possible to buy myself a little bit extra room. Now here in the viola, I've got some text and the tuplet to deal with. Let's bring the text down as close as we can to the tuplet without touching. It's a little t, let's bring the system down just a little bit more. That looks good. Then finally, ur chlo, notice I've got to clear the pizzicato marking from this dynamic. I can always buy myself a little bit of extra space by selecting the dynamics command, clicking, and then I can nudge them all up together. Rico spacing is appropriate in most circumstances, it's just with tightly spaced music like this, sometimes you do need to override what they give you. Let's adjust the slur over here just a little bit. Now this is a spot where I think cutting through the accidental is okay. I want to erase the background on this Amtech. And eight race background, I think brought the top down by an eighth switch to page view. And give it one quick look. Yes, I notice that in the original, these dotted lines end with the note value, so it's an easy fix. Just grab the box shift option, left arrow or you can drag when you're dragging left and right, you notice that you can also inadvertently go up and down and that will ruin the horizontal quality. To fix that, just hold down shift and the line will snap to its horizontal. And now I can drag it without worrying about it going up or down. This is where you want to look at the whole score. If you feel like anything is a little bit too close to something else, it's an easy nudge to fix that. 11. Lesson 10: create an infographic: Lesson ten, we're going to make a Music Info graphic. It's going to involve several short flows, text boxes, and an interesting layout. The techniques we'll learn here are going to build on some of the things we learned in previous lessons, while also highlighting some new and useful layout features that you could use for almost any purpose. We will also, as always, learn a few new program features, Create a new project. And then we'll add the following instruments. We're going to start with flute, then we'll add a harp. Then classical guitar, the standard tuning is fine. As a reminder, flows are instances of music which may feature one or more of the players we've just created in our lesson on percussion. The first player was assigned to the first flow, the second to the second flow, and the third player to the third flow. In this lesson, we're going to mix and match the players and flows a little bit. Select Flow one, and then select only the harpsichord, switch to right mode, and then galley view. We'll hide our system track, then I want to hide the staff name that's in layout options, players, staves, and systems. I'll just hide all the labels. We're ready to start putting in some notes. We're going to be creating several ornamentation examples that you might find in an edition of box keyboard. Music I don't want a time signature for any of these examples back over here. I'm just going to enter the notes without adding a time signature. First, all the ornaments have treble clef on top and on bottoms. We need to change the clef. Bring the pop over for clefts up, shift C and then type G or treble. And then I can enter these notes, need to add the ornament to the C. And the easiest way is just to open up the panel here. The one we want for this first example is called a short trill with my notes selected. I just click and add that. Now that we've input the music for this first ornament, we can copy the flow and then make some adjustments. We've put all this work into it. Might as well just copy and paste. The first thing I'm going to do before I copy it is change how the final bar line appears because all of them have a double bar line as opposed to a final bar line. Then I can copy that flow as many times as I need it and then make some adjustments to go into notation options. Go to bar lines and then put double bar line. Now I can go to set up mode. I'm going to rename this according to what it is in the Info graphic. Now I can right click on this flow and then Duplicate. Now you can see I've got the exact same thing. We're going to work in clockwise order. The next one is a cadence switch back to right mode for our cadence. This top note is an eighth. I'll type that, this ornament needs to be the inverted turn. I'll change that. Then my notes down here are slightly different. I can use lock to duration and then simply play the notes I need. Then these extra notes are not needed, so I'll just delete them. Then I can hide these rests and use the jump bar. Remember it's remove rests. Just like that. Our second flow is done. Let's go ahead and do the next one. Command one. Right click on cadence. Duplicate flow. We're going to rename this Trill with mordant back into right mode. We need a quarter note for this. We're going to change the turn to trill with mordant. Then this has several notes. We're going to select all these and just hit R to repeat them. Now we have the eight notes that we need, lock to duration, and then I can simply play what I need. I'm going to keep doing this for the rest of the flows. For this top portion of our first page, I've done the trill, the cadence, the trill with mordant. I'm going to simply continue by doing the double cadence and just follow through and end with the mordant. And I'll speed up the video to save time. The next thing we're going to add is a flow that demonstrates figured base in set up mode, create a new flow. Then I'm going to select the flute and the harpsichord and rename this figured base. Note entry for this is going to be quite similar to other things we've done. So I'm going to speed through this as well. To enter figured base symbols, press shift for the figure based pop over, very similar to entering lyrics. I can move the left and right arrows to select the note that I want to input. For the second note, I need a seven type seven to commit that and then advance to the next note. You press the space bar for this one, I need six spacebar. Nothing on the A. I'm now on the B for sharp, or I can type the pound sign, seven again, six again. And then I need to go up here to the type in 67 for the A. For this A at the end of bar two, I need 65 stacked. The way to do that is to type 65 for sharp. For this I need 42, I'll do 42. Now this 6/5 is a little bit more involved. Before we input any numbers, we need to change the setting. In engraving options, we'll shift command E and then I'm going to go to figured base and then go down to where it says accidentals and select for raised figures wet this second option, apply that close out. Bring up my pop over now I can enter plus six or six. For that raised six, I'm going to do six. Now let's say I press and then five and you would think I'd get a 6/5 But in fact, what I get is a five with a little tick mark on it, which is not what I want. The harmony that we need is not a D sharp minor seven, but a D sharp diminished seven. Dorico is interpreting my 65 based on the key that I'm in, and it's raising the fifth. I need it to be diminished, not a minor. If I double click this, it will bring the pop over back up. And notice how it force this plus five on me. What's great about the figured base pop over is that it also recognizes chord symbols. I can type in the harmony that I want, which is D sharp diminished seven and then press Return. That fixed the five and change it to a regular five. Now we can enter the rest of these, all the figure base is now in the next page of our info graphic displays this guitar tablature. I just noticed that we've got the guitar staff normal notation and then underneath we have the tab notation like we did over here for the ornaments. We're going to create individual flows for each of these so that we can control the layout here. In set up mode, I'm going to create a new flow and I'm going to call it rpegio, make sure that guitar is the only one that's selected. I don't want all three showing. Just guitar. Switch back to right mode. I need to go into layout options to show the tablature underneath shift command L in the full score. Go over here, two players fretted instruments and then show notation and tablature. Now you can see I've got my tab underneath. Now we can enter the pitches in the staff. And then the tablature will appear underneath, or we can input it in the tab, and the notes will appear up in the staff. Let's do some tab just to practice. I'm going to invoke the Carrot and then move it down into the tab. I'm going to input these as duration before pitch. I'm toggling K to make sure that it's duration before pitch. I want the rhythm to appear as a whole note. I'm going to select whole note up here as my rhythm. Then when I click five, that will input this whole note on the top line, which corresponds to the tabluture for the next note, I simply go down and we'll press five again. Then one more time on this middle line. Our first example is done already. Let's switch back to set up mode. And I'm going to right click and duplicate this flow. I'm going to call this bend. I'm going to delete all of this because I don't need it. Now I'm going to go down to my tab and I have quarter note selected. I'm going to go down to my second line from the top and press five. Now I'm going to go up here and just grab the E and hit R or repeat it. And you can see how that creates a five down here in the tablature. Now with my shortcut option up and down arrow, I can move that note around. And you'll notice tabletre number is changing indicating which finger to use. I need this on, then I need to select the first note. And then I'm going to open the ornament panel here. Here you can see under a guitar I've got different symbols. I've got Guitar Bend, which is what I want. Then I have these other ones. We're going to just use the guitar bend. Notice that when I put that in, it completely changes the symbols in the tab notation to show this bend as an upward arrow with the half symbol. I don't need this rest, I'll hide that. Now I can move on to our next flow command one for set up mode duplicate. Rename this natural harmonic. Delete my contents. Let's go into tab on our top line, we're going to input 12. You can see I just typed a one and then a two to get this 12. And that shows this up here. I need this though to be a diamond note head. I need to select it and then open the properties panel. And then here where it says harmonics, toggle the type on and then just select Natural. Then I can again hide this rest, which I don't need for our next flow. We're going to call it artificial harmonic. I can leave all this here and just go in and edit my tablature. I'll delete that and just press a one. And then I can go into my properties panel again with harmonics. Toggle the type and then leave artificial selected. And then that will show the 13 in parentheses. Hide my rest. That one's done. Let's move on to dead notes. In this one I'm just going to delete everything again. I could do this in either the treble clef or the tab. What I need to do is go down to my fourth line up, third line down, press five, and then five for the next line down. Select the stems so that both of these notes are selected. Open the properties panel, and then I need to find guitar techniques, which is over here to the right. I just scroll along and just see there's a toggle for dead note that turns it into these X noteheads. Hide my rest. And we have one more to go. I'll delete these notes. Go to my tab. Second line down, press five, which gives me a quarter note. I actually want this to be a half note. I just grab it and press seven to change the rhythm. I don't need the rest. I need to add a tremolo. I'm going to go over here to the Repeat Structures tab. And then I want a three dash tremolo. Now I want thin double bar lines at the end of every flow instead of final bar lines. I need to change this in notation options, shift command n. Then you can see I've got all these flows that I just put in for the guitar, starting with Arpeggio and going down. If I shift, click from Tremolo picking up to Arpeggio, all these are selected. Now I can change the bar line to be a double, then apply that. That takes care of that. Now that we have all of our music entered, we can start adjusting our page layout. If I switch to page view, you'll notice all of the flows are on their own page, which is normal expected behavior. What we want is to start combining all of these flows onto one page for the ornaments and the figured base. And then the second page is going to be the guitar tablture. We wanted to end up looking like this. Now, I told you in the past to use master pages because that's the proper methodology for laying out music in most cases. In this particular case though, since we're doing, again, a one off demonstration type infographic, it's going to be much easier to work with an overridden master page. We're just going to manually move things around. For this one instance, what we're going to do is switch to engrave mode. We have all these pages, you'll see. Then of course we have our default score page template and our first page template that Dorco provides. By default, what we want to do is create a new page template. I'm going to click on the plus button. We're just going to call this blank, basing it on none, leaving it to custom and clicking. Okay. Now we have this blank master page. Let's go up here and select page one, and then go down to page 15. All these pages, 1 through 15 have either the default page, as you can see here for page number two, or the first page for page number one applied to them. We want to get rid of all that. We don't need any of these master pages. We want our own custom blank page. I've selected all of these. Then I go here to insert page, template change from page one. I want to use blank and I want it to be from this page onwards, poof, all of our music disappears. Just as a reminder page templates are using frames, either a music frame or a text frame to show the music we just created. In those flows, all those flows. The ornaments, the guitar tab, it's stored, it's like in a database. If you want to think about it that way, what we're going to be doing is drawing frames onto the piece of paper and saying, populate this frame with this database entry or this musical material. Let's start with our ornaments page. To get music on the page, we need to draw music frames. You notice here that there's some writing up here, but we can't read it. You can't read what's written there. Simply drag the frame to make it a little wider and then you can see what's written. We have here these flows. It allows you to select any flow that you want. It's selected Tremolo, picking by default because that was the flow I had selected previously. If I click Trill, which is our first flow that we made, then that one appears. But what we want to do instead of manually overwriting each frame, is to set up a series of master linked frames. You do that up here, you can see the link symbol. The frame chain can either be a custom lettering. This is LA is just created by Dorico by default to keep track. But the MA is master and that's what we want all of our frames to use. The reason we want that is that it will select the first flow that we created. And then each frame that we put on the page after this will grab the next flow in the series. And then we can have this unbroken chain of all of our music. If I had to grab another music frame and draw it out, it puts this LA in by default. Let's change it to MA and it's blank. That's because have in our layout options, new flows always start a new page. You need to make sure that existing page is allowed. Now you can see the second frame has the second flow, and if I grab another frame and draw it out and select Master, it shows the third. Now this little number here I can change. I could have this be the first frame, and it's just changed the order of these. Now notice that depending on the width of the frame, let's say I bring this in a little bit. The Dorico snaps the bar to the right side and justifies it, stretches the music then beyond a certain point. Snaps back to really what we want it to look like. This is again another setting. In layout options, we need to go shift command L and then go to note spacing. You can see here only justify final system in flow. When more than 50% is full, we want to change the 50 to 100% What that means is even if I bring the frame really, really close, if I bring the frame too close and like override the edge, then it will change the spacing. But anything beyond this, it doesn't modify what we have written in there, which is what we want. Now I just need to draw the remaining frames. And then rearrange them so that I get this circular design. Then to preview what it looks like without all the frames in the way. Just hold down the apostrophe key, that's looking pretty good. I'm noticing in this example that the bottom staff is closer to the top than the other examples. If I click on this and drag, you'll notice that the staff moves depending on how tall the frame is. That's another setting that we could adjust. But for this, it really doesn't matter because the frames are irrelevant. They're going to disappear in print mode. I just need to make sure that I don't have this too close to the bottom staff. Otherwise, it'll move up. I'll move it down a little bit. It's looking better. I think this one just needs to be nudged a little bit. Yeah, looking good. Now, I just need to draw a big text frame at the top and put in the word ornaments so that that can identify this section. Then I think I'm a little bit generous with my spacing because I still need to do the figure base down here. I'm going to move some of these examples up a little bit. I think that's looking good. I'm going to do the same thing for the figure base example. I'll draw a music frame for the flute and harp scored part and then add the title using a text frame. You'll notice here that it's looking pretty good in terms of layout, but when compared to our original, the music is smaller. And I need the text boxes down here in arrows. What I'm going to do is make the music rastral size a little bit smaller so that we have more room to work with. To do that in layout options, as you can see that's created a little bit more white space. I'm going to tighten all this up and move things into position and skip ahead to the next part. All right, I've finished adjusting things to better match our original. We're looking pretty good on page one. Now you'll notice also in the original that we've got these instrument labels showing for flute and harpsichord, but we don't have that here in our version. If we go to layout options, remember that we turned staff labels to none document wide for the full score. We don't want instrument labels for each one of these, we want these three blank. How do I get staff labels on this one but not document wide? There's a little trick we need to do for this switch. To engrave mode, I'm going to select a time signature and I'm going to create a system brake. What this allows me to do now is this local edit that we're going to do is now associated with this system break. If I open up properties, you'll see I have this option now that allows me to toggle on staff labels and I can make them full or abbreviated, but I want full labels for this. I'll also hide this sign post it only, put it on here and not document wide, which is great. The other thing I want to do is tighten up the spacing here. It's a little bit generous. Between these, I want room for our text boxes below in engrave mode. Switch to staff spacing, as we did with a previous lesson. I can click this box and then drag it up or nudge it up with my shortcuts. But you can also marquee. Select both of these, the mouse and then I can use my shortcuts shift option up arrow and move them both together. Maybe bring this bottom one up. One notch, that's good. Nice. I think that's looking much better. Now we're ready to put in these text boxes. Switch to engrave mode. I'm just going to lay in three boxes. Now I can put in our text. I'll speed through this real quick. Our text seems a little bit large. I will select it all. I'm going to make it ten point. I notice we have a few options for how text is laid out in these boxes. I can align different ways, I can have superscripts and subscripts and change the font style and all those things. If I exit out of that and select the frame and then bring up the properties panel, you'll see that I also have other settings like vertical alignment by default is set to center, but I can align the text to the top or the bottom. I can also add padding to the text box at a border. Just be aware of these other options that are available to us. The default settings are fine for what we're doing. I'm going to keep this and I'm going to speed through and enter the rest of the text. I have all my text in. It seems a little bit big for our frames and the size that we need. So I'm going to reduce it from ten down to eight. Now I can resize the frames a little bit so that they lay out a little bit more consistently. I think that looks fine. Now we can add the arrows pointing from the text to the item in the score. We've done arrows before in our percussion lesson. Switch to right mode, then go over here to the line tool. We're going to select this arrow that since we're going to be moving these manually, it doesn't really matter how we put them in. I'm just going to snap it to the first note in the harpsichord part, and you'll see it just displays it there above that staff. We'll do that a couple more times before we move these arrows. You'll notice that our fourth bar of our example is not showing, we need to force that into one system. What I'm going to do is increase the size of the frame so that the other bar will be visible. Then with my graphic editing tool, I'm just going to grab this last note, hold down command and click in the beginning. And then force that to make it into a system. Now I can go back and resize my frame. Now we can adjust our arrows, you get the idea. We could continue playing with this, but I think that this first page is looking really good. Now we just need to add some text boxes for the titles or description of each of these ornaments. I'll do one to show you, it's very similar to what we just did down here. Just grab the frame tool, draw out a box, press return to enter it. I'm going to resize this to try ten or we could use size eight, and then it would match our text box at the bottom. That's probably a better idea just for the ease of use for alignment. I'm going to change it to centered. You get the idea here. I've put that in for Trill and then I can just simply add a text frame for each of these. I'll go ahead and do that real quick and I'll be right back. All the text for the ornaments has been put in as text frames. You can see here with this particular one, I did write a line so that it aligns better with the ornament. And then some were centered and then some were left aligned. Now we're ready for the second page and the guitar tablature in grave mode. You can see here I have my first page. I need to select it, make sure that it's blue. And then I can go down here to the plus sign and insert a page. I only want one and I want it after page one. I want it to use the page template we made earlier called blank. Now I can simply draw my music frame in the center of this page. Remember that our original has a column of all the tablature examples. I want a master frame chain to show all of them. It'll show them in order. When we draw this frame, four of our examples are appearing, but we need all six to show. This is a setting that we need to change in layout options and it has to do with the margins between each flow. If you look here under page set up, by default a flow heading has a top margin of 15 millimeters and 12 millimeters for the bottom part of that margin. What that means is the distance between these flows is essentially 27 millimeters. That's why we have that large white space between each guitar tab. Example, I'm going to change the top margin to 2 millimeters, the bottom margin to 5 millimeters. The music frame also has some margins built in, and I'm going to reduce that to 2 millimeters for both top. And when I hit a ply, it's going to mess everything up. But it shouldn't take much time to fix this. You'll see, you see that our figured base example jumped up into a previous ornament frame and our top guitar tab went from this page over to this page. But don't worry, we will fix this. As you can see, that took a little bit of fiddling, but all I did was resize some of the frames that were moved by that change that we made in the size of the margins. And then Music snapped back to where it was originally placed. I did this to show you that you may get into a project and you might have some settings that you forgot to change or that you didn't do in advance of when you needed them. And then when you need to make that change, it messes up all this work. It's really not the end of the world. This took me a minute or two to adjust things and everything snapped back. I didn't have to delete anything. I didn't have to start over. I didn't have to redraw any frames. It's all fine. And this is probably going to happen to you more than once as you work, especially with a project like this that has an unusual layout and the flows are being used in an unconventional way. But as you can see now, we've got all six of our guitar tab notations correct on the second page. And the first page is looking like it did before. Everything is good and we can continue on by putting in some text and formatting that for our guitar tablature. I'm going to switch to engrave mode. I'm going to grab the frame tool here and adjust the width, not that it really matters at all. I'm going to eyeball it and center it here. If I go a little bit too far with my frame size, you'll see that that bottom example disappears. I'm just going to move it right at the edge so that I get these things spaced as tight as possible. And I can use my shortcuts here. It seems like that's pretty much it. We could adjust the size in our layout options to tighten that even more, but this is more than adequate. We'll put in our title for the page as you can see it in our original. We've got two items for each guitar tab. We have this bold title describing the technique, and then we have the description on the right. We could do this the same way we did it over here on the first page and use a text box for each example. Or we could do a single text frame and use paragraph spacing like we did in a previous lesson with that Show Pin Incipit, where we created a paragraph style that spaced each item according to what we need. I'm actually going to speed ahead and just do these really quickly and then we will be done with this example. There we have it. We got all the text in our frames are laying out properly. And this is looking really good. We did learn a lot about customizing frame chains and how to have the master frame populate the flows in order. You could of course, change the order and do things more custom, but this gives you a good idea of an interesting way of using Dorico to lay music out in an unconventional way. Maybe for an infographic or textbook or children's music, something with a lot of text next to it to explain what's going on. And you can do it all inside of Dorico. Very powerfully good work. We'll see you in the next lesson. 12. Lesson 11: learn about play mode: In this lesson, we're going to learn a handful of things related to play mode and other audio related topics. To begin, you need to download the music XML file that I provide and then import it into Dorico. The short cut to import files is shift command and then just locate your file. We'll open this. Here we have some options. We're just going to create all new players and click Okay. Dorico is going to do its best to figure out how to import the XM L file. And oftentimes, it does things that are a little bit unusual, depending on how the XML file was created or which program formatted it. In any case, Dorico gives us this untitled project and an empty flow at the beginning, which we don't need. We're going to delete that on your system. And the way you import it, it may actually import differently. So just be aware that there might be a little bit of unusual stuff going on, but hopefully it looks something like this. I'm going to close our system track. So we have this fugue by box, no other musical information with it, it's just notes and rhythms. Dorico knows that it's for keyboard, and so it applies a piano instrument to this part. This two voice fugue and minor from box well tempered keyboard will serve as our musical material. To showcase Dorico's built in sounds and play mode features, we're going to switch to play mode. You can click up here or press command four. You'll notice over here in the left panel that Dorico has loaded its default VST, or virtual studio technology, Haliensonic SE a VST is a plug in that has sounds associated with it. Then Dorico or other software will access those sounds and play the media data through those sounds. We can change the different instruments and synthes and make sounds the way we want to edit the sounds. We're going to click this button here, Edit Instrument. That brings up the Helien Sonic panel. You'll see that by default in channel one, Dorco's loaded this Yamaha piano. Let's close this and see what it sounds like. I can either play in play mode or in right mode. You can select the first note or you can go up here to the transport bar and hit this left arrow, which will take the music back to the beginning. You can press the green triangle, or you can simply press on your keyboard for play and then press P again to stop. I can also press the Space Bar. Doca will play from wherever I previously stopped to do five is the ability to scrub your audio. Up here you can see this little icon, and when I turn that on, do you get the idea? Going back into play mode, we can do the same thing here. You can see our green playhead. If I press the Space Bar, you get the idea there to open this up again, It instrument. And we're going to change some of these settings. The first thing I want to do is talk about these effects, ***** down here, depending on what sound you have loaded. These ***** may look different, but for this particular piano. So we got EQ, gain, things like this to demonstrate a different sound. I'm just going to grab this reverb mixed **** and crank it way up and see what that sounds like. You get the idea. We can control the sound quite dramatically by using some of these *****, but you can also load a completely different sound. I'm going to click this triangle that brings up this window. I'm just going to make it a little bigger so we can see we have these different categories that Helen provides. Let's grab another keyboard. Sound I'm going to click the keyboard category and then grab harps. Then down here in the lower panel, you see I have two options, FM Bells and GM. Seven Harpsicord. Gm stands for General Midi. I'm just going to double click that instrument. And now we've got harpsichord loaded, and you can also play some notes on this keyboard to get the sense for what that patch sounds like. You'll notice that I have several ***** that control different things, but there's no reverb, and this harpsichord sounds a little dry. I want to add just a touch of reverb to do that. I'm going to go up here to the effects panel, then I'm going to go over here to the main window. This is where all the audio is being output. Right here where it says effects, it says none. I want to click on None so that I can bring up this dialogue. Then I'll open up the reverb toggle and select reverb. I could also select reverence. Maybe this one will be more interesting. Now, here in the impulse response tab, we have different rooms, like a church or a concert hall. Let's go to concert hall, and let's just grab the first one, Austrian concert hall. Let's just leave the settings as is and see what this sounds like. I'm going to close all of this. Go back to right mode, probably too much and a little fake sounding. So we go back in to effects and we can control how much we have, the size of the room. Let's maybe make it smaller time that the reverb goes. Let's bring that down mix, let's reduce that as well, and then we can preview here on our keyboard. That might be good. I'm just going to stay in play mode, that's a little better, maybe a little bit more realistic. And you can play with that, of course, to your heart's content, we can actually load more than just reverb right here. We've got the reverence, reverb underneath that we could add a filter like a resonator. And this has a bunch of options. You can see here, let's just go crazy here. Let's do, let's not do delay. Let's do a chorus effect. And one more for good measure. Let's add a little tremolo. Why not lovely. So let's preview this and see what we think groovy. You can also see down here at the bottom, we have some faders. This is a preview of the mixer. Now you can get to the mix up here as well, and that will show a full screen M. This is our master output, and you can see that it's set to negative six DB by default. If you just double click this, it will snap to zero DB. Also our instruments over here. I'm going to just going to boost the piano, but you can adjust the levels for each individual thing that you have. In your mixer, I was playing with the reverb amount, muting the reverb, you get the idea. So I'm going to go back here and I'm going to remove these effects. So just click on it and click none. So now I have no effects. You can apply these effects over here as well. You can see in the track inspector, I have this panel right below our routing panel, and I can insert an effect here. This gives you access to third party VST's. By default, Steinberg is the company that Dorico is with and they provide their own stock things. These are what we are accessing through the Helien panel. I also have a couple of outside sources. These are free synth. Bsts that I downloaded. Valhala has some things like Super Massive. Let's try this. Let's just leave it set to the default here and see what it sounds like. A little crazy. But also you can see how you can grab third party effects. Bring it into Doc and apply it to your playback. I'm going to remove that for now and talk about independent voice playback. Because we have a treble clef and a bass clef. By default they're linked together, assuming that we want one sound like a piano or a harpsichord. But these really are two lines of music. If we want a different sound for each line, we can do that by clicking this button and you'll notice that Dorico splits treble clef and bass clef. Or more appropriately, staff A and staff cleft might change always trouble or base, but you get the idea. With this enabled, you'll notice that by default, Dorico assigned staff with channel three. Staff A is channel one. I could change this to two, let's do that. We've got Channel 1.2 If we go back in, you can see that it automatically loaded channel three with this Yamaha piano, and our channel one is this harpsichord. Remember I moved it to channel two. I could have left it with three, it doesn't matter. But let's go ahead and bring in a totally different sound. Let's have a marimba. Just double click that to load it. Then for our top staff instead of harpsichord, let's do a pipe organ. Sound Flute pipe organ. Why not? Again, this Yamaha piano is not going to play because there is no channel three selected. We've only got channel one and channel two. I'm just going to leave that alone. If you want to preview these sounds again, you can apply an effect to the main, which would be the output for the entire thing. Both the flute pipe organ and the marimba would go out and be processed by the main. Or you can set up these ox effects channels and route them in different ways so that the marimba has different effects than the pipe organ. I'm not going to get too much in the weeds with that. That's something you can explore on your own time. But let's apply tasteful reverb here. Let's have this sound like it's in a church. French Stone chapel. A. Let's bring the mix down maybe a little bit so it's not overly wobbly. 30% preview, that that's going to be too much. Let's bring it down to 20. All right, let's give this a whirl, go back to right mode. Remember organ sound on top. Mamba on the bottom. Now to my ear, the organ is a little bit louder than the marimba is. A couple of reasons for that. One, it's higher pitch, and that tends to grab your attention a little bit more. But also, the timber of the organ is brighter and more intense, and the marimba is rather soft. I want to balance that a little bit better. The mixers are a great way of doing that. You notice that it just gives us this generic title, Piano. But you can hover over it and it says Helion channel one. Helion Sonic channel two. Notice that actually channel two was turned way down. That should probably fix our problem. Let's preview this and see if that fixes it a little better. But I want more Marima and less organs, so I'm just going to tweak those a little bit. Now let's say you have a digital audio workstation, In other words, A, that has some really interesting sounds and you want to load them into Dorico. Well, sometimes you can and sometimes you can't. For example, Logic Pro, which is Mac only and uses a proprietary format made by Apple, you cannot load it into Dorico, but you can access those sounds using an interesting connection method between the two. What I'm about to show you is for Logic Pro on a Mac, obviously the set up for Windows and other DAWs might be different. You need to do maybe a little bit of research on your own, but the methodology I'm about to show you potentially will apply to other use cases. The first thing we need to do is enable the IAC driver on the computer. You're going to open up the audio Midi set up, so you can search for that in spotlight. That brings up this panel. Then you need to press command two to bring up the Midi studio. Then you see this here. This IAC driver. I'm going to double click that. Then I need to make sure that device is online. While I'm here, I'm also going to add a bus. I've got bus one. I'm just going to add another one. Now I've got two buses. And then I can click Apply. Close this. Now I IAC driver. It's highlighted and it is showing that it is operational. I'll close that. And audio devices. Then I need to go into the preferences inside of Dorico command, and then I need to go to play. Then I need to go down to Midi input devices. This LPK 25 is my Midi keyboard. And then I have IAC driver, which I just set up. And both of these are checked. While I'm here, I need to go down to recording and where it says Enable Midi through. You must uncheck that. It's going to create all kinds feedback and playback issues. That's a really important thing to remember. Click enable Midi through. Apply that and then close it. Remember we have staff and staff B playing through Heliensonic E, But I want them to play through this IAC bus in the track inspector area. There's this other button, VST, and Midi, Click on that. I need to go down to Midi instruments, Then I need to add the IAC bus. And you can see it's not here. Which means that since I just set it up while Dorico was open, I probably need to close Dorico and then reopen it. I'm going to close and reopen. Be back in a minute. I restarted Dorico, opened our project. Here we are in the track inspector, VST and Mid. I added this Midi instrument right here and there in my dropdown, my IAC bus is now showing up. I'm going to select bus one. Each bus has I think, 16 channels. One bus is more than enough for what we need. Now I need to route the instrument to the Midi data. Now I'm going to go back to track inspector on staff and instead of Helion Sonic, I want AC driver bus one. And it's set to channel one. Go down to staff. Then I want to set this to channel two. I've got C driver bus one, channel one, and then the same for channel two here on staff. I'm going to slide over here to Logic. I've created a project and they loaded a classical electric piano. By default, let's pick a different instrument. Let's do a synthesizer. 90 solid synth. Why not? Now, in logic, you'll notice in this inspector, I've got channel one, instrument one, and then I have this Midi inportan. It says all I want to change that to IAC driver bus one. And then I want to change the Midi channel to one. I'm going to copy this instrument by holding down option clicking and dragging. Then I'm going to change this Midi channel two. I've got channel one and channel two. Now this is going to Sound the same. Both treble clef and bass clef to staff and bottom staff. Let's give the bottom staff a different synth Sound so we can hear it a little better. Let's try a etched base for it to be playing back from a different source, I need to make sure to click that record enable for both parts. Make sure that R is clicked. Then we go back here and press play. That was intense. Let's bring the volume down on that and maybe choose some different sounds. I found a couple of sounds that work for this particular fugue. Added a little bit of reverb. Now we can play them through like we've been doing, but I want to show you that you can do a couple of really cool things with that Medidata that's coming from logic. One way of getting the Medidata from Dorico into a Dow was to export it, which you can certainly do. You go up here to file export. And you can see I can export an audio file that's going to take whatever sounds I have loaded into Dorico and then export an audio file. I don't actually have any sounds loaded right now because we're piping the data to logic. But let's say we had that harpsichord that we were using earlier. We could export that as a way file. You can also export di data. Then you can import that into logic and then work with that Medidata. You can export a Music XML. We already opened a music XML. And that's what we're looking at here. You can also export this if you made some edits to it. And then you can also do a tempo track and lyrics. What's really interesting with the connection between a dog is that I can play this and then record it live into these instruments, and these are Midi instruments. When I record this, we're going to capture the media data in real time. So I'm going to press Record and then play from Doco. Obviously, I don't need to do the whole thing, you get the idea. But now I have this media data in logic that I can manipulate to my heart's content back in play mode here in Dorico. Let's talk about medi data. By default you can see our instruments and their di data are displayed here. And then below we have a preview of the mixer. That's this button over here on the far left. If I click this button, I get a window that shows me all the Met data. And I can click and drag and increase the size. Here you'll notice that I can toggle between staff, which is our down stem voice. If I had piano selected, then I could select between the two like this, or I could just select each individual. Since I have this as set to independent voice playback, which as you can see, voice one staff A is darkly colored, staff is faded out. Of course, I can switch between the two by default I have the selection tool or I can select medi data, then I can click and drag and make those notes longer or shorter. I have the pencil tool or I can draw new notes. Really mess up. Ok. I have the line tool which allows me to work down here in whatever setting you have velocities by default selected. But I can change dynamics, I can change tempo. For example, the tempo is static, but let's say we want to ramp up the speed from the beginning with my line tool, click and drag these tempo changes. Let's see what this sounds like. Lovely note, velocity refers to how loud each note is played. I can again, grab my line tool. You can start really soft and then get gradually louder, and then maybe this is all really, really loud. Let's see what that sounds like. Of course, I can use my pencil tool as well to manipulate these. The selection tool works a little bit differently. You can click and drag and change the velocity this way. The pencil tool, if I click near the bottom, it's just going to automatically drop that down. If I click and drag, it acts like the line tool, you get a gradual change between the data points. I'm going to change the tempo settings I. So you can select that data point and then just delete it. Now we're back to our original tempo. Let's see what this sounds like. I didn't like these notes that I did, so I'm going to delete them. I'm just clicking to select it and then pressing Delete. You can increase and decrease your view over here with this slider here. Then for left to right, it's down here at the bottom left. To really get a close up view of your media data. This button over here, we'll toggle the playing techniques that we have active. By default all the notes are going to be played naturally. And you can see this pop up that appears, shows all this information about this particular meta data. If we were using a string sound for example, and we wanted it to be Arco and then pits on a certain note, we put that in the score as a text indication or rather as a playing technique. It needs to be playing technique Then Dorico would interpret that and make that switch here in play mode to make that pizzicato sound come out when you need it. That's what would appear here in this track. We can turn this on and off by clicking that button. This is our rhythmic grid set currently to eighth notes. If we shrink it down to 16th, you'll see I just get more grid lines in this view and less depending on what I choose. This button, which is selected by default, shows the notated duration of each note. For example, this first of the piece is notated as the 16th note. If I switch my grid to 16th, you can see how that lines up there. This button shows the played duration. It's a 16th note length in the notated version, and that's this darker line underneath. But the actual play duration is a little bit shorter than a 16th. We can control that without affecting how it's notated in the music. I can make these quite short, The first four. This would have no effect on how it's notated, because they're still notated as 16th notes. But when we play this back, these would sound shorter than these notes. But if I switch back to the notated duration and then change the length of the note, let's make it a quarter note length. And then we go back to right mode. You'll see that the length has increased based on what I selected in the key editor here. I'm going to undo that. This button allows me to select a region of whatever data I have over here, in this case, velocity. And then I have different controls that I can apply to this data. I can increase the value of these equally. I can increase the percentage between them. As I go up, you can see that proportion stays relative. I can ramp up or down, and this selects a random value. This button here is called the Sync Region button, and this copies data from the primary track to the secondary track. But this is only available in the dynamics in the Midi CC, or there's actually a lot more to play mode, particularly with the key editor which is what we're working in right now. Depending on what instruments you have, you may have additional tools here and there's a lot of depth that you can go into and you can actually treat Doricos play mode like a pretty substantial digital audio workstation. New features in playback mode in Doc five. I've downloaded this score of the right of spring from Scoring Notes, a blog that talks about music notation. In the next lesson, I show you how to download that, but for now, I just want to show you some of the playback features in Doc five. This is a great example because it's got a lot of instruments. Let's scroll ahead to the beginning of the second movement. The augurs of spring by default, doc in play mode loads a template, The one that you'll get by default in door co four is called. Hss E. N to five is the GASE which has this groove agent which I'll talk about in a second. Then there are some others here which I'm going to go through in a moment. But for the time being, let's close this and let's listen to what this sounds like with the default sounds loaded. Got that classic Midi sound. It's pretty good, but there are some things we can do to improve it. Let's go to play mode in Dorico five. You can see it's got all the instruments loaded. Gives everybody a different color. You can see over here, we've got Helion Sonic loaded. We've got four banks. This is the new Helen Sonic Player. This is Helion Sonic Seven. It's very similar to what I just showed you. It's just got a new interface. Looks a little bit cleaner, little bit more modern. Here are all of our instruments. When we want to change an instrument, let's say we want to change the flute instead of that little triangle. We have this folder over here. We can choose from different categories. If I were to select all, then I could see all the instruments in Haliionsonic. I can filter these by choosing these different categories. I can add effects. A lot of this is very similar to what we saw before. Feel free to explore on your own time. If we go back up into play mode, you'll see we've got stage template and space template right underneath our playback template. These are new to Dorico five. The stage template allows you to use different setups depending on the instrumentation. Since we're using a full orchestra, let's select that. Then we'll open up this bottom panel. We have two new buttons. We have a live stage and a live space button. If I click on live stage, you'll see that Dorico arranges our instruments on a virtual stage that it gives the impression of distance. You've got the brass near the back, percussion in the very back. Woodwinds are middle, and then strings are upfront here. This is going to add a little depth to the sound, which will be great. We can also load a space template. We have default and then we have the different, essentially like a reverb for the particular set up. We could use a concert hall and apply and close that. Then if we go to our live space, you can see we've got this reverb set up specifically for our space. Now if I didn't have this set, let's go back up here and go to stage template and just use the default. You notice that all of the instruments are now just center channel. If I click on this, they're all put dead center on this virtual stage. You can see how nice it is when it lays them out for you in a more realistic manner. And you can see now it's panned a little bit, the layout is going to be more realistic. I can spread them further apart by using this button, or I can bring them in a little tighter with those settings. Let's see what it sounds like now I'm going to go back to Score View. So with our stage and space template set, let's hear what it sounds like compared to just the default. So you can hear a difference. Sounds. A little bit more interesting. Under playback templates, we also have this note performer. Now, note performer does not come with Dorico. This is a specially purchased sound engine. Just for comparison's sake, I wanted to show that to you. Unlike the stock sounds, not performer does a lot of work behind the scenes and you don't actually have control over it. That display on the stage, which Dorico allows you to manipulate the instruments and move them around. You cannot do that with no performer. It does all of that behind the scenes and then gives you an end result. But the end result is of a pretty good quality. Let's see what that sounds like for my money. No performer really does give you an incredible result. And you don't have to fiddle with settings and manipulate things if you're looking for out of the box, excellent playback, particularly for orchestra or instrumental ensembles. No performer is amazing. I think it's like 140, 150 bucks. It's, but it is really nice if you use those types of things for playback. Now, as I mentioned, when you go into play mode here, you'll see that no performer doesn't have any of the options here for the live stage or for the live space. It's got its own proprietary systems, you can't adjust that. But if we go back to this time, we'll load the GASEn, let that load. Then again, you can play with it and manipulate it and get a sound that's a little bit more realistic. Let's go down here to where it says Tympany. It's the fifth instance of Sonic. I'm going to go to VST Mitt and I'm going to switch this from the Helion Sonic Seven. I'm going to choose Steinberg drum and then use the groove agent just to demonstrate that will load. Now you've got this interface for drums. You can see you've got a pad to work with these different instruments in the kit. This is really cool. This is a new feature of course five. Now there's a lot going on in here, more than we're going to cover right now. There's lots of features, lots of different things. You can do different things going on with the drum set. Feel free to play around and incorporate this into your compositional work or your notation work, but for now we're going to call it a day with play mode. Hopefully we've covered enough to give you an idea of some things that you can do for your music. Certainly tying it in with your notation can be a great way to hear what you're working on. I'll see in the next video A. 13. Lesson 12: format an XML file and work with parts: Last lesson, we're going to format an existing score. Take a deeper look at parts and cover a few other features of the program. In our lesson on play mode, we downloaded and opened a music XML file. We didn't format the score or work with notation, but in this lesson we're going to reformat the score and apply some custom styling. Download this file and then double click it to open Indico. Here we are. I'm going to maximize the screen. I'm going to hide the system track and also hide posts so we can get a better look at this. As you can see, Dorico lays this out on four pages, about 3 bars in each system. It looks like, while this is certainly readable and clear, it's not a professional format. This is one of the biggest things I notice in beginner engravers. Music tends to have white space. Music tends to be spread out way too generously. This is partially the program's fault because it does the using its default settings and it's not something that Dorico can interpret with artificial intelligence. How many pages you want it to be laid out on. The default settings give you a very clean, readable result, but it's not professional. Certainly, you wouldn't want to present this as your final version. We're going to change several settings to fit the music down to two pages. We're going to tighten up lots of spacing and then we're going to play around with some custom settings. Let's start by opening layout options to adjust a few things. Shift command L, first thing you'll notice is the page size is a four. Let's change that to letter. The rastal size came in as custom. This is often a thing that in music XML files this originated somewhere else. And we don't know what program they used in the settings mostly came through. But obviously there are some things that need to be adjusted. We're going to bring this down to size six. Then I'm going to go to Staves and Systems and I'm going to leave the staff labels on that first system as full. But then on subsequent, I'm going to turn those off. Now already you can tell that helped shrink the music down to about three pages. Now we're about four measures in each system, but we want to bring this down to two pages. Certainly you can tell we've got some interesting text going on up here at the top. Let's take a look at this. This was imported as text elements and it's all stacked here on top of this re we have individual text elements for the poet, the composer, the title. I want to incorporate all of this text into our project info so that it populates automatically. For the project, we'll give that the song cycle title liber. Then for our flow title, we're just going to change it to the title of this particular song. We'll apply that. You'll notice that it puts the composer over here on the right. Laris is on the left. That's correct. That's the way we want. We got our title. We're going to get rid of a flow number, we know how to do that. Command three, go to flow headings. Now back in right mode, I can delete all of this text. I'll go ahead and put the temple marking in as a temple marking instead of as Teo. The original is in trouble, clef and an octave hi. This is a version of the score online that, where somebody transposed it down for a baritone or a bass singer. But we're going to convert it back to the original shift for a cleft. Now to select all of this, I could click here and then scroll to the end and hold down shift and then click, and that would grab all of the vocal part. But there's a slightly faster way. If I select just the first note, ear or first rest and then go to Edit. Select to end of flow, that'll grab everything in that staff to the end of our flow, which is great. Then my shortcut to transpose up in octave is option command up arrow. Good. Now there are several small vidiosyncrasies in this XML import. For example, we have this extra common time indication here, we'll delete that. There's also this resonance slur which we don't need. Then some dynamic quirks. Dynamics should always go above a vocal part, not below. I'm just going to grab that and flip. Then it put in meso fort on this staff and this staff, we only need one in the center for piano music Looks like we're missing an accent here. I'm just going through this real quick and scanning to make sure that we have everything, some details are missing. And I'm comparing this against the original. I'm also checking the text or the lyrics. For example, here the hyphen was included here as opposed to typed in correctly to show the three hyphens here, I'm going to double check in a few other spots to make sure that that's done properly. There's a little collision here, we'll fix that. At the very end of the process, we've also got crescendo, but it's written in as a text element as opposed to a dynamic. So we want to change that. Looking fine. There may be one or two details that I missed. It's not really the end of the world here, because what we mostly want to be talking about is how to format the score and how to fit everything onto two pages. We're going to switch to engrave mode and use some system breaks and frame breaks to bring all of the music onto two pages. The first thing I want to do is count the number of systems Dorico currently has. There's 3456789. I would do four on the first page and five on the second. The reason is we have all this head matter, this text which is going to push the music down a little bit. Four on this one and then five since we have more room here. Before I do that, I'm going to go into my page templates and delete the copyright. We don't need that by myself. A little extra space. Then I can select the first rest at the beginning of the piece and then go to the end of the fourth system. Hold down command and click that. And then make into frame. I'll do the same thing for page two. Grab the beginning of this system hold down command and click at the very end, make into frame. Obviously we have some collisions here. Part of the reason is we have some generous margins on top and bottom. Let's go into layout options and adjust those margins a little bit for the top margin. Let's make that 8 millimeters bottom. Let's make that ten. And we could play with this a little bit to get what we want. Let's look in better. You'll also notice we have some generous space at the top of the music frame. Back in layout options here. The music frame margins are again, adjustable. Let's reduce those to eight a piece that's looking really good, that's covered most of our problems. Don't need this running title here, this is only a two page score. I'm going to go into our page templates and click on the default page and just get rid of that flow title token. This looks really good. There is some collision happening here. These are quite close, but I can manually adjust that to get everything to fit quite nicely. I'm going to do that now and just tighten up the spacing ever so slightly. And just with a couple of adjustments, things are looking much better. We still have to flip this piano marking now that all the music is formatted. Let's talk about music fonts. The default font for Dorico is called Bravia. And you can find your music fonts up here under library Bravia, up at the top on your system. You're probably only going to see Bravia and Petaluma. Petaluma is the jazz style handwritten font. If I switch to that, you'll get this hand written, hand inked look. I'm going to undo that and go back to Bravia. For a font to be recognized by Dorico, it has to be Smooflecpliant. Smoofle stands for standard music font layout, and it was developed for Dorico. Several makers have since updated their fonts to be Smoofle compliant, and all the fonts you see here are now available. All of these except for November are free to download, and you can find them online, just Google Smoofle fonts and you should find a list. There are many more than this and there are also many that you can purchase. I happen to have November, and then I also have these other free ones downloaded. All of these that say Finale, these are actually fonts designed for Finale, which is a competing notation program. But we can open these up and see what the different font would look like. Finale Maestro is the main music font for Finale. Notice that these check marks will update the text settings, but also the fonts recommended engraving options. The designer of the font thinks it looks best. With these particular settings in place, you can of course, override those settings and change them after you change the font, or you can just untick this and not load them. In general, it's probably a good idea to use those recommended engraving options. As you can see, maestros staff lines, the flags are a little bit more elegant, ties have a different feel. The thickness of the staff lines in the bar lines, that can all be adjusted. Let's take a look at lips similar. It's got some unique qualities with the flags here. Sebastian, really nice looking font, finale engraver, et cetera. You can play around with these to your heart's content. I'm going to stick with Sebastian and then talk about how to change specific music symbols. All of this is now using the Sebastian defaults. Let's say that we really like the treble clef and the bass clef from Bravia. I want those, but I want to keep everything else that Sebastian offers, or at least most of what Sebastian offers. To do that, we can use the tool called music symbols. This is a very powerful dialogue where we can actually edit the symbols that are used in the music. There are many categories here. Let's go to clefs for the bass clef. You can see this is what the bass clef in Sebastian looks like. If you really wanted to, you could actually manipulate it right here. You could change the scale, make it a little bit smaller, and then click. Okay. All the base clefts in the score shrink by 10% I'm going to undo that. But let's say we want to replace this with a different clef up here. Bravia is selected by default. Now I need to go to the range category. And you can see Bravia has thousands of symbols. If I start typing clef, it should find it. Here are all the different clefts for Bravia. Let's grab the standard base clef. Once you have it highlighted, you need to click down here and say add Glyph. This one on the left is Sebastian. This one on the right is Bravia. Select the Sebastian clef and then delete it. Then the Bravia cleft will snap into place. It's proportion properly, and it's aligned properly, so we don't have to move it up or down. Everything is good. And we click okay. There you can see that the bravia clef has replaced the Sebastian clef. Let's do the same for trouble. Go to Library. Music Symbols clef. Bravia selected by default. Go to clefts. This first one is the standard clef. Add it, you can tell it's got a slightly different curve going on here. Delete the Sebastian clef and then click Okay. And watch what happens in the score as it repopulates with the bravia clef. Now you can mix and match these different music fonts to your heart's content. Let's say for example, we've got bravia clefts, we've got Sebastian. Everything else. But let's say we want a different accent mark. Go up here to music Symbols in the category I need to search for articulations. This is an accent below the note. I'm going to select that one instead of Bravia. Let's use a different music font. Let's engraver. This is a finale design font. I'm just going to choose the standard engraver font set. Now you'll notice here that I don't have those same categories that Bravia had. I need to find the accent, it's not going to be in its own category. And then add that glyph. You'll notice it's a little bit higher than this. I'm just going to delete this one. Now. With this one selected, I can go to the offset X and Y, and I can bring the Y down four clicks, and now it should be in the right spot. Click. Okay. All of my accents now change to the engraver font set. It gives you a little taste of how you can manipulate the default symbols. You certainly don't need to do this ever if you don't really want to. But if you want to give your music a nuanced custom look, you're more than welcome to try and play with some of these while we're here. Let's talk about tonality systems. By default, if you go up here to the key signature Dorico set you up with an equal temperament score. This is the standard tuning of a piano, equal temperament, 12 notes to the octave. If you write music that is microtonal, then you would need equal temperament, 24 EDO. Let's set up our score to be able to do that. Not that we would need that for this piece, but just to show and to demonstrate it, I'm going to zoom in a little bit here. First thing I need to do is select where I want this key change to happen. And I'm going to do it at the beginning of the piece, because I want the whole piece to be in this new tonality system. With this selected, I'm going to go over here to the tonality system and choose the second one. You'll notice these accidentals, quarter tone accidentals become available. However, I have not yet established that we're using 24 EDO or divisions of the octave in this score. Because I have to invoke the key signature tool and make a key change, I'm going to go shift K. For the sake of this example, I'm just going to type atonal. Now, when I do that, I've now created an atonal key signature. We can see this. If I go and turn sign posts on, now I can go over to, let's say, this note, and instead of a flat, I can have a quarter tone flat. Let's hear what it sounds like in normal 12 to first and then I'll make an adjustment. Let's make this a quarter tone flat. You can see Dorico puts in the proper accidental so you can hear that Dorco actually plays it back correctly and gives you that quarter tone which is phenomenal. We could make this quarter tone sharp this, just to really hear what this sounds like. Then we'll do quarter tone flat on Brecht, delightfully out of tune. But obviously you would not use that for a tonal piece like this. You might use that for a more modern score. Or if you use that in your music, that's how you do quarter tone music. Now, we did some work with typography in a previous lesson, but I want to show you a couple of things here for this one, even though I'm using Sebastian music font and I've made some custom edits, we're still using the default system font. If we go up to library and then go to paragraph styles, you'll see here with default text that academico is selected. Now the settings for Sebastian did not override this setting. But let's say we want to change this for our document default text. You'll see over here we've got the name, but then also this category called parent. This is really powerful because the way that Dorcos set up the title, for example, has set for its parent default text. You can see how this font is grayed out. That's because it is pulling the setting for the type face from default text. Lyrics also are pulling default text settings for its typeface. Let's choose a different font from Academic Go to see how this would look. Let's try Bodoni 72, then just click Okay. You can see how it changed all the text up here, including the lyrics. It did not change tempo marking. If we go back up and here two paragraph styles, we're looking for tempo. Tempo. Tempo. There is no tempo. Now, remember we talked about this in passing in one of our lessons. Text items that stand on their own as text are usually found in paragraph styles, whereas things linked with musical parameters like tempo are found in the font styles category. This is where immediate tempo text font is located. You can see here, this is what we're seeing over here. It's bold Academico, its parent is default text, not default font, which we had in the paragraph styles that is set here. If I go to again, Bodoni, now this is what my temple mark would look like, including anything else that used default text font as its parent. Now if I click okay, my temple marking changed as did my ******. And a tempo. With a couple of clicks, you can change the style of the font through the entire document. And you don't have to go and manually update each one individually. Remember that now as you can see, we've made a lot of changes to this document and it's looking quite different than a default Dorico document. Maybe it's so nice that you want to make a template out of this so that you can reuse this. All you would need to do at this point is save it, Rename the document something that you'll easily find or remember, I would call it something like Dorico template. And then when you go to create a new document, instead of starting with a Dorico default document, open up your template which has all these, and then immediately save it as whatever you want. It could be a piece for full orchestra, and you're using this template, you would just delete the voice, delete the piano, and add a bunch of orchestral instruments. All the same settings that you have used here are going to be in that new document. That's a very quick and simple way to import your settings as opposed to creating a default document and then manually overwriting everything. Now let's add a cover page with the title on it, and then we'll insert another page so that our document will have a blank, that we can then have proper page turns. Now I don't like the way this is four and then 54, and then only two. I want to adjust that real quick. That should be an easy thing to do. I'm just going to turn on sign post. I should be able just to grab this and push it down, and then grab this and push it down. And that's much better. Let's switch to engrave mode to create a title page or insert blank pages. First, we want to create a page template with the desired format. I'm not going to use Flow Eddings here, I'm just going to close that. You can see here I've got default full score as a set. This is my current set. I can click the plus button and create a new page template, and that new template would appear in my default full score set. I can also go to page template sets and create a new one. For example, I could take the default full score and then duplicate it. Let's call this custom full score. Then up here I can use custom. Now just so I don't get confused with my default, I can add anything I want to this and it will be organized there. Let's create a new page. We're going to call this title page. We're going to base it on none. And we want the type to be custom. Click Okay. And there it appears, double click it. And now I can add anything I want to it. Let's do a text box, something like this. Then let's use our tokens. Curly bracket left at symbol. Let's use the project title. Make sure to capize title at and then curly bracket. Copy that to both hit Apply and then close. Now you'll notice nothing happens because I haven't applied this title page. You need to spell it properly. Think about these blue frames of music. They exist in a database. They're hidden until you reveal them with a music frame. If I were to go up here and apply a new page template to page one, you might think, oh, Dorico is going to cover this page with template, and it's going to erase all this and only show page two. That's not the case. What Dorico will do is it will move everything to the right, and it's not going to erase anything. It's going to preserve all of our music. With our title page created, let's apply it to page one of our score. Go up here and select page one. Then right click, Insert page. Template change from page one, we're going to use the page template we just created, which is title page. We only want it for our current page. Click. Okay. The first thing you'll see is Dorico has created. Three pages or added a page to our score. And that's because we turned the first page into this title page. And then Dorico simply slid everything over. Now you'll notice that the first page doesn't have its big title on it or the composer's name anymore. That's the page template for page two is the default page, not the first page. When we applied the title page to the first, Dorico simply kept the default page for the second. That's why it looks this way. We just need to select page two. Right click, Insert page. Template change instead of default, make it the first page. Now it correctly shows everything the way it should. You'll notice here we've got our project title, which mimics this project title, but it doesn't look the same. But we have the same token that we have up here. The reason that it's not the same is that if we highlight this, you can see that it's set to default text and not title. Now if I changed it here, I would get a red triangle on page one because I'm overriding the template in the score. I need to go back into the title page. Double click it, select this, and then change it to title. Now it's going to have the same formatting as our project title. Now let's insert a blank page after the title page in between the first page. To do that, we just simply go over here and create a new page template. Just call it blank. It's based on non, it's custom. I don't need to add anything to it because I don't want anything on it. Select page two and then right click Insert Page, Template change. Then from page two I want to display as blank. Again, it updates page three by showing it as just the default page. But again, I want that to be the first page. Select page three page template change first, Now our score is complete. We still need to change the page number. Here you can see it says page four, but the convention is that the first page of music is page one, but you don't see a page number and then subsequent page numbers. After that we need this to say two. Engrave mode. Select page three, which is this page right here, Right click, Insert Page number change. We do want page three to be the first page. You'll notice that it did what we wanted. This is now page two. This page, which is using the first page template, is set to not show any page numbers. That's one of our settings, and that's correct. Even though we changed this page number, it's not going to show anything until page four, which is now labeled page two. I wanted to touch on part formatting, now this score doesn't have all that much music and you wouldn't have a part for an art song. Anyway, we're going to be working with this fantastic doric file. This is the right of spring. This was input by Professor Stephen Taylor. Scoring Notes is a website dedicated to music notation. And it's got news reviews, tips, et cetera. And this particular post is about his notating the right of spring. And he's very generously given part one and part two, the whole thing as Dorico files for you to download. I downloaded part one. Now we can look at a part that is quite long and do some formatting. Here's the full score. Let's edit the bassoon part. In Italian it's called Fagotto down here. Open that up, you can see that it's several pages. Looks like about nine. Our goal here is to create more space above each of the titles for the movements. Right now they're a little bit cramped. We also want to lay the music out as efficiently as possible. We also want to provide page turns. This is a big deal in orchestral music part preparation. Imagine this is laying on a music stand and instrumentalist is playing from this part. The music is happening in real time. They need to reach. Turn the page. There shouldn't be any music there. Otherwise they're not going to be able to play it now in a string part. Now in string music you have a stand partner that turns the pages and they obviously stop playing to reach for the paper. But everyone else, for the most part, is responsible for turning their own page. They can't drop notes. You really have to provide some type of page turn. Page turns happen on odd pages. If you look at the layout here at the bottom of Dorico, you can see got different choices for laying out pages. I could show each page as like an individually spaced document. Page fault is this booklet style which shows you the layout. Two is on your left, three is on your right, and they're bound in the middle and you would grab page three at the end and then flip it over. Then you have page 4.5 in front of you. We want to provide page turns for every odd page, including page one. To get started with this formatting, let's fix this spacing issue. Above the flow titles, we go to layout options, page set up, and then we're going to go to flow heading. And you can see the top margin is set to zero, that's why the spacing is so tight. So we're going to change that to 12 millimeters and I'll apply that and you can see much better, the spacing is quite nice. Now, I also want to change something else in layout options. While I'm here, you'll notice you've got these rehearsal numbers in the part. There's a setting that's hiding the bar number, so that the rehearsal mark is the only thing visible. Personally, I like to see the bar numbers all the time. Whether or not there's a rehearsal mark there, just a personal thing. But let's change that. We're in layout options, we're going to go to bar numbers and then go down to where it says showing and hiding first item tick that show bar numbers at rehearsal marks. Now you can see our bar number appears that taken care of. Now we can focus on formatting the parts for good page turns. Now the way I'm going to do this is switch to engraved mode. The idea here is to provide bars of rest or multi rest bars at the end of an odd page. This is plenty of time to turn a page and then we have all this rest after it. I'm going to force this onto the first page. Hold down, command select these two and then make into frame. Now we've got some collisions, which we're going to fix in a minute. But for the most part, this is great, because now we've got this bar of rest. Turn the page and there's even more rest. Our next page turn is on page three. You can see here that we've actually got the end of a movement. This is a perfect spot to have a page turn. We'll grab this hold down command. Click up here and do the same thing, Make into frame. Then they can turn on page three and that's to a new movement is enough time. This 34 bar at vivo quarter equals 160. Is that enough time to turn the page and then play this note? I don't think so. We want to be a little bit more thoughtful about this and give this two bar multi rest as the turning point. We need to move some measures around to make this happen. I'm going to grab this bar and then move it up by just using the short cut. Now at the selected, I'm going to force this into a frame. Now when they get to Vivo, they've got 123, Play the note, and then they can turn the page, and then they have two full bars of rest after that. It's still a brisk page turn, but for this particular spot, that's probably the best option. Now looking at page seven, you'll notice that we have an interesting thing in the music. We have this material which is ending the movement. Then that same type of material begins the next movement. Page, turn here would be terrible. This is where we want the page. In this situation, if I were to grab this and try and bring it all onto this page, it would be way too crammed and that's not going to work. I really don't have much of an option other than to grab this spot right here. Let's actually make this whole movement into one frame if we can, while holding down command, I'll grab this spot and then make into frame, it pushes it to the next page. This entire movement and the preceding material right before it is all on one page, but we have all this blank white space. Might be thinking, what a terrible waste of paper. But for an orchestral part, or chamber music for that matter, instrumentalists would much rather have this big chunk of blank space and have a good page turn, than for you to try and force music to fit every single page all the way through. In fact, if you needed to put an entire blank page in to facilitate page turns, that would be acceptable and encouraged. You can actually see that you would just insert a blank page and then there would be text in the middle of the page. Usually in a box or something that says, this page left intentionally blank to show that it wasn't a printing error. Musicians love that because page turns are so important for them, then conveniently, our last movement fits perfectly on this ninth page. This was not difficult. This one actually came together really easily. But there are certain parts that are quite a challenge, and sometimes page turns are really awkward and not feasible. Sometimes you just have to have multiple pages of music that musicians will have to photocopy and then tape together as like a fold out. That is one option. Other option might be to shrink the music a little bit, though. Again, you're reading this from a distance. The smaller you make it, the harder it is to read that On a case by case basis. You need to just navigate those situations. But for this, it's looking pretty good. Now we just need to clean up some of the formatting. I'm going to switch back to engraving mode. These rehearsal numbers are pretty big and colliding with things, but with just a touch of manual adjustment, I would probably, if I had time, make these reversals a little bit smaller, we could certainly do that. But the point of this demonstration is not fine tuning adjustment, it's really the page turns that I wanted to look at, but things like this. Similarly, Sempre, having this text hanging off the edge into the margins is really not okay. A couple of options here. This is linked together as a dual indication. I would probably just drag it and it's referring to the accents having it just a little bit left of where it technically showed a line is more than adequate here and it's acceptable. You could also separate the two and then have them stacked, but this is fine. I think same thing with this crescendo. It is hanging off a little bit. So we could do a bit of manual fiddling here. I could bring the rehearsal up, little things like that, just make it look a little bit more professional. You've also got, this looks like 3453456, And then three, these large measures look a little bit goofy. I'd probably do this, bring this one down, and then this one down. It just looks more even to my eye this way. This sat nudo is definitely hanging way too far. Again, in this particular spot. You could either move this measure, then your text would be here or we can just cheat and do something like that. This is probably, I think it's fine. I think you get the idea that the saustanudos referring to this spot. If you're concerned about that, again, you could try and move this measure down and re space things. Let's just try that, see what would happen. It did make it work, but it pushed this up a little bit higher. But again, we could grab this and bring it down. Not a problem. That's probably the better choice in this circumstance. As long as we don't have any collisions. This part is looking quite nice. You could if you wanted to add a note saying this area left intentionally blank, but I don't think you need to in this case because people are going to know that there's a page turn there. I think it's pretty obvious. Certainly if it was a full blank page, you would want to put some indication that this was not a mistake. I switch to right mode here. I'm want to jump to another part to show you a nice feature. Let's go to the contra based part. I haven't formatted this at all, this is all default, but if we go to the end, you'll notice we have this long hair pin. Long hair pins up to a certain extent are okay, maybe two or 3 bars. This is probably okay. If it were longer and it crossed the staff, that would certainly be an issue. Long hair pins tend to start to look like staff lines after a certain length and it's really not best practice to use super long hair. In some cases you're going to want to switch it out for the actual crescendo dynamic that's just written as text. If we were to select this, delete it, then. White crescendo. Now, this is not what Stravinsky originally wrote, but I'm just doing this for demonstration purposes that looks a little cleaner. Don't have those long lines. But we have just changed the part, and that is linked full score. If we switch to full score and then jump to the end, we'll see down here at the bottom that it erased our hair pin and put in exactly what we put in the part. That's fine. Right. Let's say though that you want to retain the hair pin marking for the full score, but you want the crescendo to appear in the part. We want to go back to the part and do this a little differently. To achieve that, let's undo, let's open the properties panel, and then we'll select our hair pin. You'll see here that I've got several options associated with the hairpin. And I also have this button here that allows me to set local properties that's referring to this part on a global level or on a local level. When I set to global, the change that we just made goes into the full score. If I set it to local, the change is only going to happen to this part. And I don't have to delete anything. I have a crescendo and Dorico, Smart, it knows that that's linked with the text. It's linked with the hairpin. It's all the same thing. All I have to do, instead of deleting and rewriting it, is go down here to the type of crescendo that I want. Select gradual style and change hair pin to the crescendo text. Now it's linked with the triple forte. It's looking correct. Remember we'd set that to locally. This should only show up in the part and not the full score. Let's check, Sure enough it works. That's a great feature if you have certain markings that you want the performers to see in their part, but you don't want to change it in the score or vice versa. While we're talking about parts, there is a new feature in doc five. If you go up to the library and then go down to instruments, you have access to all the instruments in Dorico and you can change all kinds of parameters about those instruments. If you click this funnel, it gives you all the instruments in the current score we were dealing with contrabassoon or contra base. Rather, we could edit the instrument names, we could change the number of staves and staff lines, change our clefts. Lot of very cool features here. As with a lot of the new features in Dorico five, there are some really great videos put out by Dorico themselves. And I'm going to close this and not save it. And then you can go here to the learned panel and you can see they've got their form. You can link to the manual and all their latest videos. Anything that I've glossed over and you want to take a deeper look, you'll find these videos very helpful. I would encourage you to check them out. Certainly because Dorico releases updates quite often, new things are dropped into the program periodically, and it's a great way to stay notified and changes to your workflow might happen because of these videos. I encourage you to watch all of these on top of what they're doing. I just want to go through a few final thoughts before we wrap up this entire course. As I mentioned at the beginning of this course, the goal of these lessons is not to cover every last feature in detail. It would be extremely unlikely that each user would need to use every single feature in Dorico. It would also be quite tedious and boring to watch me explain each item in the menu. You've learned a lot about the program, but there may be a few things here and there that would augment your knowledge and workflow. One way of picking up on these things is to browse the menu and see if anything catches your interest.