Claude Lapalme, Author at Scoring Notes
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Written By Claude Lapalme

Tips

Using Dorico’s flows and condensing features to prepare Handel’s Messiah

January 5, 2023January 11, 2023

How many versions of Handel’s Messiah are there? It’s hard to say, but by using Dorico’s flows and condensing features, it’s possible to prepare a version to suit your particular performance.

Tips

Properties management in Dorico

October 28, 2020November 2, 2020

Managing properties of objects in Dorico is powerful and flexible. You can change properties in two modes: a global mode where the properties are immediately propagated, and a local mode where they are set in the active layout only.

Tips

Hollywood-style parts and blank staves in Dorico

October 14, 2020October 17, 2020

Dorico supports creating empty staves either at the end of a part layout — sometimes referred to as “Hollywood-style” parts — or simply in order to create custom manuscript paper.

Tips

Manual staff visibility in Dorico

July 23, 2020July 27, 2020

Dorico has a tool called Manual Staff Visibility which allows the user to easily hide or show staves throughout a score, to mitigate instances where a page will show too much white space as a result. Learn how to use it in your score.

Reviews

Dorico 3 feature: Harp pedaling

September 13, 2019September 19, 2019

In version 3, Dorico comes equipped with a dedicated tool to help create correct and beautifully rendered harp pedal diagrams. It has options for graphic diagrams, diagrams using note names, and partial pedal changes.

Tutorials

Early music in Dorico is more than meets the eye

April 3, 2019April 6, 2019

Dorico’s various dialog boxes, known as editors, allow users to easily customize areas of notation for specific types of scores. We explore the notation of a Handel secular cantata and an “ars subtilior” virelai. In both instances, Dorico is up to the task.

Tutorials

Creating freely metered music in Dorico

October 24, 2017July 13, 2018

In this post, conductor and composer Claude Lapalme shows you how he composed a meter-less segment of a movement of a chamber orchestra work in Dorico, using its sophisticated note entry and engraving tools.

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