You can do just about anything with time signatures in Finale, if you know how to tame the beast. In this video tutorial series, start with the basics and then learn about composite, alternating and independent time signatures, how to make them film score “oversize” style, pickup measures, and more.
Have you listened to some contemporary music with irrational time signatures and now want to make use of split tuplets, like 2/3 of a triplet? Today we’re going to look at creating these in Sibelius and Dorico.
“Divisions of a beat are beamed together in all meters, in order to simplify reading beats,” says Elaine Gould. Here’s how to change the default beam grouping in Sibelius so that it matches your musical intentions.
A series of notation conventions has been established over the years to identify editorial content. For the creators of critical editions, we take a comprehensive look at Dorico’s formidable set of tools for making editorial marks.
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.
Dorico Pro 2.0, released today, is a major update to Steinberg’s music notation software, with new features across the board in many areas. Smart staff management, slash notation, bar repeats, a new handwritten music font, a new system track, support for large time signatures, automation in Play mode, video support, and much more round out an impressive release.
In this video tutorial, we’ll cover how to create composite time signatures in Sibelius, including what Elaine Gould’s Behind Bars book calls “meters of mixed denominators”, like 6/8 + 2/4. Finale and Dorico handle this with ease, but in Sibelius it takes a bit of effort.
In Dorico 1.2, you can notate a piece with any time signature displaying as any other time signature. In this tutorial by Florian Kretlow, we’ll illustrate a useful trick that shows how to do just that, by using a piece from the core repertoire as our real-world example.
In Dorico, tuplets can cross barlines easily. Learn how to apply this feature, with an easy tweak, to properly render certain Renaissance notations that have been difficult to achieve with other software.
Engraver Jeremy Hughes discovered a better-than-usual way to keep tempo text aligned to time signatures in both the score and parts in Sibelius, and we’ll show you how to do it.