9/3/2023 0 Comments Dorico move notes up and down![]() ![]() People like what they know, remember? I grew up listening to Gardiner’s recording of Beethoven’s Fifth, so to this day, everyone else’s interpretation sounds too slow to me. I knew if I just jumped into an entirely different notation program with no preparation, I’d quickly be stymied and give up. And then life slowed down this past June, and I took a second long look at the newly-released Dorico 2. I first looked into it nine months after its release, but it didn’t seem ready to me, and I wasn’t interested in being an early adopter. And when I did finish setting my thoughts to the page, I knew that, no matter my proficiency, it would be at least an hour of moving and nudging and tweaking the score to make it print-ready for real musicians to use.Įnter Dorico. I felt continually stymied in the creative process by Finale’s metrical demands. If you divide the arranging or composing process into “the creative part” (putting ideas to the page) and “the practical part” (score details and layout), you realize they have very different requirements… but both are necessary. But it was a year or so ago, while making hundreds of agonizing manual adjustments to orchestral parts, that a nagging realization was dawning in my mind: What if all this work isn’t necessary?Īlthough I was slow to admit it, the reality was that my workflow in Finale was never satisfactory. You start to assume a priori that the workflow you have is the best it can be. This is the double-edged sword of familiarity with any particular program: it increases efficiency but breeds complacency. But the second and more basic problem I have with Finale is that some things-many things- just take too long. If Finale worked perfectly, innovation wouldn’t be all that important. Apparently Finale is content to react to existing technology slowly, and to abandon innovation almost entirely. And it still doesn’t fully support high-DPI monitors. ![]() So it should come as no surprise that, with its recent release of version 25, Finale is just now entering the world of 64-bit compatibility. And, with a lion’s share of the educational and professional market, the company seems to have settled into a holding pattern. That’s not necessarily a weakness in every context, but Finale has amassed a pile of technical debt, an accumulation of decades of old code that makes it nearly impossible to improve core functionality. Although the bug fixes have continued at a respectable pace, Finale feels like a 30-year-old program. The first was the trajectory of MakeMusic, the company that owns Finale. Besides, novelty alone is never a good reason to do much of anything, especially something like changing one’s professional workflow.īut two concerns were growing in my mind. I had no expectation that I’d ever move away from Finale. And my experience confirmed that: I had amassed plug-ins and expression libraries and shortcuts and workarounds, and I was moderately pleased with everything. ![]() Use any program long enough, and you’ll become proficient enough to make it do what you need it to do. After all, people don’t know what they like they like what they know. Rather than rehash what others have written, I thought I’d share my experiences with it as an arranger and composer.įinale has a comforting familiarity for me, especially as my usage has increased over the past ten years. You can find out more about Dorico here, and here, and here, and peer behind the curtain here. Dorico has exceeded my expectations in every way, and it’s already changing the way I write and arrange. And today, when my trial expired after a thirty-day test drive, I immediately purchased a license. One month ago, after following its development from a distance for a year or so, I downloaded a free trial of Dorico.
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