Dorico 3.5.10 Version History

Total Page:16

File Type:pdf, Size:1020Kb

Dorico 3.5.10 Version History Version history Known issues & solutions July 2020 Steinberg Media Technologies GmbH Contents Dorico 3.5.10 ....................................................................................................................................................................................................... 3 Improvements .................................................................................................................................................................................................. 3 Issues resolved ............................................................................................................................................................................................. 11 Dorico 3.5 ........................................................................................................................................................................................................... 19 New features ................................................................................................................................................................................................. 19 Pitch before duration in note input ...................................................................................................................................................... 19 Expression maps ..................................................................................................................................................................................... 22 Line style editors O .......................................................................................................................................................................... 25 Figured bass ............................................................................................................................................................................................. 35 Condensing for divisi and section players O ............................................................................................................................. 40 Properties .................................................................................................................................................................................................. 43 Manual staff visibility changes .............................................................................................................................................................. 45 Clef and transposition overrides O ............................................................................................................................................... 46 Used chord diagrams grid ..................................................................................................................................................................... 48 Graphic slices O ............................................................................................................................................................................... 50 Hollywood-style parts ............................................................................................................................................................................. 51 Blank staves .............................................................................................................................................................................................. 53 Keda Indian Drum Basics sounds ....................................................................................................................................................... 53 Improvements ................................................................................................................................................................................................ 54 Issues resolved ............................................................................................................................................................................................. 73 Known issues and solutions ........................................................................................................................................................................... 78 Frequently asked questions ....................................................................................................................................................................... 78 Knowledge base ........................................................................................................................................................................................... 78 Entering the eLicenser Activation Code (Mac only) ............................................................................................................................ 78 Key commands to transpose notes by an octave (Windows only) .................................................................................................. 78 Credit notice Steinberg, Dorico, WaveLab, Cubase, Nuendo, ASIO and VST are registered trademarks of Steinberg Media Technologies GmbH. VST Sound is a trademark of Steinberg Media Technologies GmbH. Windows is a registered trademark of Microsoft Corporation in the United States and other countries. Mac, Mac OS and OS X are trademarks of Apple Inc., registered in the U.S. and other countries. All other product and company names are trademarks and registered trademarks of their respective holders. All specifications are subject to change without notice. Made in Germany. Copyright © 2020 Steinberg Media Technologies GmbH. All rights reserved. Dorico 3.5 Version History Page 2 Steinberg Media Technologies GmbH Dorico 3.5.10 27 July 2020 Improvements Bar numbers O Engrave mode editing. If bar numbers are shown in multiple locations in the system, it is now possible to move each instance of a bar number independently, and it is possible to drag them with the mouse in Engrave mode. Chord diagrams Default chord shapes. When Dorico chooses the initial shape for a chord diagram, it now prefers an open shape if possible, or failing that easier barré shapes, and prefers not to offer shapes with several muted strings, if possible. Condensing O Accidentals on condensed staves. A new option Accidental visibility overrides has been added to the Condensing page of Notation Options, allowing the value of the Accidental property on uncondensed music to be propagated through to condensed staves. Expression maps Playback Options overrides. It is now possible for expression maps to define overrides for playback options, allowing different playback options to be used for different sound libraries or even patches within the same sound library. A new Playback Options Overrides section has been added to Play ▶ Expression Maps, in which most Playback Options appear. Activate the slide switch to specify that a given option should be overridden for this expression map; the default value shown will be the current value as it appears in the dedicated Playback Options dialog. User interface. When you click Cancel or hit Escape in Play ▶ Expression Maps, Dorico now prompts you whether you want to discard your changes or keep editing NotePerformer. When opening a project that uses the NotePerformer playback template, Dorico now sets up appropriate overrides in the NotePerformer expression map for Playback Options to ensure they continue to play back identically. Multiple notes at the same pitch. A new option Allow multiple notes at same pitch has been added to the Expression Map Data section of Play ▶ Expression Dorico 3.5 Version History Page 3 Steinberg Media Technologies GmbH Maps, allowing you to specify whether or not the playback device can cope with multiple notes of the same pitch being triggered. Action offsets. The actions required to trigger playing techniques, dynamics and so on – such as MIDI controller changes and key switch notes – are now offset as needed to take into account any offset to the note at the same rhythmic position, to ensure that they take effect from the correct note. Default note durations. In newly created projects, the default unslurred playback duration is now 95% of its notated duration, and 105% of its notated duration for slurred notes. Playback techniques. The Edit Playback Playing Techniques dialog has been renamed Edit Playback Techniques, and can now be accessed via the Play menu as well as via the Edit button in Engrave ▶ Playing Techniques. Figured bass Compound intervals. You can now type numbers up to 19 in the Shift+G figured bass popover, making it possible to express compound intervals (intervals greater than an octave), which can be useful for showing specific voicings. Some editions choose to show compound intervals in their simplest form, using the figure appropriate for the first octave rather than the second, resulting in figures appearing out of order. For example, a stack of figures reading from top to bottom 19, 10, 8 might instead be shown as 5, 3, 8. To obtain this same appearance in Dorico, activate the new Show compound intervals as simple property in the Figured Bass group in the Properties panel. Suspensions and holds. It is now possible to specify the duration of a hold or suspension in the Shift+G figured bass popover by appending an instruction to the popover input text, as an alternative to modifying the duration of the hold or suspension using the Properties panel. For hold duration, append d= followed by the duration; for suspension
Recommended publications
  • New International Manual of Braille Music Notation by the Braille Music Subcommittee World Blind Union
    1 New International Manual Of Braille Music Notation by The Braille Music Subcommittee World Blind Union Compiled by Bettye Krolick ISBN 90 9009269 2 1996 2 Contents Preface................................................................................ 6 Official Delegates to the Saanen Conference: February 23-29, 1992 .................................................... 8 Compiler’s Notes ............................................................... 9 Part One: General Signs .......................................... 11 Purpose and General Principles ..................................... 11 I. Basic Signs ................................................................... 13 A. Notes and Rests ........................................................ 13 B. Octave Marks ............................................................. 16 II. Clefs .............................................................................. 19 III. Accidentals, Key & Time Signatures ......................... 22 A. Accidentals ................................................................ 22 B. Key & Time Signatures .............................................. 22 IV. Rhythmic Groups ....................................................... 25 V. Chords .......................................................................... 30 A. Intervals ..................................................................... 30 B. In-accords .................................................................. 34 C. Moving-notes ............................................................
    [Show full text]
  • Music in Theory and Practice
    CHAPTER 4 Chords Harmony Primary Triads Roman Numerals TOPICS Chord Triad Position Simple Position Triad Root Position Third Inversion Tertian First Inversion Realization Root Second Inversion Macro Analysis Major Triad Seventh Chords Circle Progression Minor Triad Organum Leading-Tone Progression Diminished Triad Figured Bass Lead Sheet or Fake Sheet Augmented Triad IMPORTANT In the previous chapter, pairs of pitches were assigned specifi c names for identifi cation CONCEPTS purposes. The phenomenon of tones sounding simultaneously frequently includes group- ings of three, four, or more pitches. As with intervals, identifi cation names are assigned to larger tone groupings with specifi c symbols. Harmony is the musical result of tones sounding together. Whereas melody implies the Harmony linear or horizontal aspect of music, harmony refers to the vertical dimension of music. A chord is a harmonic unit with at least three different tones sounding simultaneously. Chord The term includes all possible such sonorities. Figure 4.1 #w w w w w bw & w w w bww w ww w w w w w w w‹ Strictly speaking, a triad is any three-tone chord. However, since western European music Triad of the seventeenth through the nineteenth centuries is tertian (chords containing a super- position of harmonic thirds), the term has come to be limited to a three-note chord built in superposed thirds. The term root refers to the note on which a triad is built. “C major triad” refers to a major Triad Root triad whose root is C. The root is the pitch from which a triad is generated. 73 3711_ben01877_Ch04pp73-94.indd 73 4/10/08 3:58:19 PM Four types of triads are in common use.
    [Show full text]
  • Figured Bass and Tonality Recognition
    Figured Bass and Tonality Recognition Jerome Barthélemy Alain Bonardi Ircam Ircam 1 Place Igor Stravinsky 1 Place Igor Stravinsky 75004 Paris France 75004 Paris France 33 01 44 78 48 43 33 01 44 78 48 43 [email protected] [email protected] ABSTRACT The aim of the figured bass was, in principle, oriented towards interpretation. Rameau turned it into a genuine theory of tonality In the course of the WedelMusic project [15], we are currently with the introduction of the fundamental concept of root. Successive refinements of the theory have been introduced in the implementing retrieval engines based on musical content th automatically extracted from a musical score. By musical content, 18 , 19th (e.g., by Reicha and Fetis) and 20th (e.g., Schoenberg we mean not only main melodic motives, but also harmony, or [10, 11]) centuries. For a general history of the theory of tonality. harmony, one can refer to Ian Bent [1] or Jacques Chailley [2] In this paper, we first review previous research in the domain of harmonic analysis of tonal music. Several processes can be build on the top of a harmonic reduction We then present a method for automated harmonic analysis of a • detection of tonality, music score based on the extraction of a figured bass. The figured • recognition of cadence, bass is determined by means of a template-matching algorithm, where templates for chords can be entirely and easily redefined by • detection of similar structures the end-user. We also address the problem of tonality recognition Following a brief review of systems addressing the problem of with a simple algorithm based on the figured bass.
    [Show full text]
  • Music Braille Code, 2015
    MUSIC BRAILLE CODE, 2015 Developed Under the Sponsorship of the BRAILLE AUTHORITY OF NORTH AMERICA Published by The Braille Authority of North America ©2016 by the Braille Authority of North America All rights reserved. This material may be duplicated but not altered or sold. ISBN: 978-0-9859473-6-1 (Print) ISBN: 978-0-9859473-7-8 (Braille) Printed by the American Printing House for the Blind. Copies may be purchased from: American Printing House for the Blind 1839 Frankfort Avenue Louisville, Kentucky 40206-3148 502-895-2405 • 800-223-1839 www.aph.org [email protected] Catalog Number: 7-09651-01 The mission and purpose of The Braille Authority of North America are to assure literacy for tactile readers through the standardization of braille and/or tactile graphics. BANA promotes and facilitates the use, teaching, and production of braille. It publishes rules, interprets, and renders opinions pertaining to braille in all existing codes. It deals with codes now in existence or to be developed in the future, in collaboration with other countries using English braille. In exercising its function and authority, BANA considers the effects of its decisions on other existing braille codes and formats, the ease of production by various methods, and acceptability to readers. For more information and resources, visit www.brailleauthority.org. ii BANA Music Technical Committee, 2015 Lawrence R. Smith, Chairman Karin Auckenthaler Gilbert Busch Karen Gearreald Dan Geminder Beverly McKenney Harvey Miller Tom Ridgeway Other Contributors Christina Davidson, BANA Music Technical Committee Consultant Richard Taesch, BANA Music Technical Committee Consultant Roger Firman, International Consultant Ruth Rozen, BANA Board Liaison iii TABLE OF CONTENTS ACKNOWLEDGMENTS ..............................................................
    [Show full text]
  • RECITATIVE STYLE and the FIGURFD BASS THESIS Presented
    /O i0 A COURSE IN KEYBOAIO AIMOBy BASED ON THE RECITATIVE STYLE AND THE FIGURFD BASS THESIS Presented to the Graduate Council of the North Texas State Teachers College in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By George S. Thompson, B. M. 158610 Garland, Texas August, 1948 158610 TABLE OF CONTENTS LIST OF ILLUSTFAJTIO.S., Page . 9 , 9 0 v Chapter I. INTRODUCTION . * , " 4 4 . , Statement of the Problem Need for the Study Sources and Validity of Data Method of Presentation II. YIGUREDBASS . * 0 g , * ." 4 III. RECITATIVE . IV. TRIADS . * 0 0* * , I * 13 Root Position of Triads First Inversion of Triads Second Inversion of Triads Modulation V. NON-IARMONIC TONES * * , 9 a 9 , 0 , . The Passing Tone The Suspension The Neighboring Tone The Anticipation The Escape Tone The Appoggiatura The Pedal Point VI. SEVENTH CHORDS . * . * * * . , 43 The Dominant Seventh Chord The Supertonic Seventh Chord The Leading Tone Seventh Chord in Minor The Subdominant Seventh Chord The Tonic Seventh Chord in Major VII* ALTERED CHORDS. .. Altered Chords in Minor Altered Chords in Major 6ii Chapter Page VIII. THE CHORD OF TIE AUGEEIN SIXTH . 58 IX. MODULATIONTO FOREIGNaYS . 61 x. REVIEW . 64 BIBLIOGRAPHY . 67 iv LIST OF ILLUSTRATIONS Figure Page 1. Example of the Figurations for the Triad in Root Position . 14 2. Example of the Figurations for the First Inversion of Triads . 21 3. Example of the Figurations for the Second Inversion of Triads . 24 4. Example of the Figurations for the Passing Tone . 29 5. Example of the Figurations for the Suspension . , . 32 6.
    [Show full text]
  • Figured-Bass.Pdf
    Basic Theory Quick Reference: Figured Bass Figured bass was developed in the Baroque period as a practical short hand to help continuo players harmonise a bass line at sight. The basic principle is very easy: each number simply denotes an interval above the bass note The only complication is that not every note of every chord needed is given a figure. Instead a convention developed of writing the minimum number of figures needed to work out the harmony for each bass note. The continuo player presumes that the bass note is the root of the chord unless the figures indicate otherwise. The example below shows the figuring for common chords - figures that are usually omitted are shown in brackets: Accidentals Where needed, these are placed after the relevant number. Figures are treated exactly the same as notes on the stave. In the example below the F# does not need an accidental, because it is in the key signature. On the other hand, the C# does to be shown because it is not in the key signature. An accidental on its own always refers to the third above the bass note. 33 For analytical purposes we will combine Roman Numerals (i.e. I or V) with figured bass to show the inversion. Cadential 6/4 Second inversion chords are unstable and in the Western Classical Tradition they tend to resolve rather than stand as a proper chord on their own. In the example below, the 6/4 above the G could be described as a C chord in second inversion. In reality, though, it resolves onto the G chord that follows and can better be understood as a decoration (double appoggiatura) onto this chord.
    [Show full text]
  • Figured-Bass Notation
    MU 182: Theory II R. Vigil FIGURED-BASS NOTATION General In common-practice tonal music, chords are generally understood in two different ways. On the one hand, they can be seen as triadic structures emanating from a generative root . In this system, a root-position triad is understood as the "ideal" or "original" form, and other forms are understood as inversions , where the root has been placed above one of the other chord tones. This approach emphasizes the structural similarity of chords that share a common root (a first- inversion C major triad and a root-position C major triad are both C major triads). This type of thinking is represented analytically in the practice of applying Roman numerals to various chords within a given key - all chords with allegiance to the same Roman numeral are understood to be related, regardless of inversion and voicing, texture, etc. On the other hand, chords can be understood as vertical arrangements of tones above a given bass . This system is not based on a judgment as to the primacy of any particular chordal arrangement over another. Rather, it is simply a descriptive mechanism, for identifying what notes are present in addition to the bass. In this regime, chords are described in terms of the simplest possible arrangement of those notes as intervals above the bass. The intervals are represented as Arabic numerals (figures), and the resulting nomenclatural system is known as figured bass . Terminological Distinctions Between Roman Numeral Versus Figured Bass Approaches When dealing with Roman numerals, everything is understood in relation to the root; therefore, the components of a triad are the root, the third, and the fifth.
    [Show full text]
  • Keyboard Music Is
    Seventeenth-Century Keyboard Music in Dutch- and German-Speaking Europe David Schulenberg (2004, updated 2021) Keyboard music is central to our understanding of the Baroque, particularly in northern Europe, whose great church organs were among the technological and artistic wonders of the age. This essay treats of the distinctive traditions of keyboard music in Germany, Austria, and the Netherlands before the time of Johann Sebastian Bach and other eighteenth-century musicians. Baroque keyboard music followed in a continuous tradition that of the sixteenth century, when for the first time major composers such as William Byrd (1543–1623) in England and Andrea Gabrieli (ca. 1510–1586) in Italy had created repertories of original keyboard music equal in stature to their contributions in other genres. Such compositions joined improvised music and arrangements of vocal and instrumental works as the foundations of keyboard players' repertories. Nevertheless, the actual practice of keyboard players during the Baroque continued to comprise much improvisation. Keyboard players routinely accompanied other musicians, providing what is called the basso continuo through the improvised realization of a figured bass.1 On the relatively rare occasions when solo keyboard music was heard in public, it often took the form of improvised preludes and fantasias, as in church services and the occasional public organ recital. Hence, much of the Baroque repertory of written compositions for solo keyboard instruments consists of idealized improvisations. The capacity of keyboard instruments for self-sufficient polyphonic playing also made them uniquely suited for the teaching and study of composition. Thus a second large category of seventeenth-century keyboard music comprises models for good composition, especially in learned, if somewhat archaic, styles of counterpoint.
    [Show full text]
  • Transfer Theory Placement Exam Guide (Pdf)
    2016-17 GRADUATE/ transfer THEORY PLACEMENT EXAM guide! Texas woman’s university ! ! 1 2016-17 GRADUATE/transferTHEORY PLACEMENTEXAMguide This! guide is meant to help graduate and transfer students prepare for the Graduate/ Transfer Theory Placement Exam. This evaluation is meant to ensure that students have competence in basic tonal harmony. There are two parts to the exam: written and aural. Part One: Written Part Two: Aural ‣ Four voice part-writing to a ‣ Melodic dictation of a given figured bass diatonic melody ‣ Harmonic analysis using ‣ Harmonic Dictation of a Roman numerals diatonic progression, ‣ Transpose a notated notating the soprano, bass, passage to a new key and Roman numerals ‣ Harmonization of a simple ‣ Sightsinging of a melody diatonic melody that contains some functional chromaticism ! Students must achieve a 75% on both the aural and written components of the exam. If a passing score is not received on one or both sections of the exam, the student may be !required to take remedial coursework. Recommended review materials include most of the commonly used undergraduate music theory texts such as: Tonal Harmony by Koska, Payne, and Almén, The Musician’s Guide to Theory and Analysis by Clendinning and Marvin, and Harmony in Context by Francoli. The exam is given prior to the beginning of both the Fall and Spring Semesters. Please check the TWU MUSIc website (www.twu.edu/music) ! for the exact date and time. ! For further information, contact: Dr. Paul Thomas Assistant Professor of Music Theory and Composition [email protected] 2 2016-17 ! ! ! ! table of Contents ! ! ! ! ! 04 Part-Writing ! ! ! ! ! 08 melody harmonization ! ! ! ! ! 13 transposition ! ! ! ! ! 17 Analysis ! ! ! ! ! 21 melodic dictation ! ! ! ! ! harmonic dictation ! 24 ! ! ! ! Sightsinging examples ! 28 ! ! ! 31 terms ! ! ! ! ! 32 online resources ! 3 PART-Writing Part-writing !Realize the following figured bass in four voices.
    [Show full text]
  • Intro to Figured Bass
    Introduction to Figured Bass Figured bass symbols describe the vertical structure of the chord! The bass is the foundation of harmonic structure. Figured bass symbols are used to indicate the bass positions of chords. The practice is derived from Baroque keyboard music where the player read from a part consisting of a bass line and some numerical symbols that indicated what chord was to be played. It was shorthand and, consequently, allowed an element of improvisation to enter the performance. The figured bass symbols represent intervals above the bass. The notes obtained by these intervals may be played in any octave. The figured bass does not indicate open or closed spacing. The system deals only with intervals (During its period of invention, the theory of chords was not yet invented). Figured bass was used as a means to notate improvisations, teach composition, and was the fundamental means by which composers such as Haydn, Mozart, and Beethoven learned their craft. The following example illustrates the figured bass symbols for triads and their inversions only. Ex. 1 (a) (b) (c) 5 6 6 3 3 4 (root position) (1st inversion) (2nd inversion) The numbers in the above example represent the "general interval" from the lowest note in each chord to each upper note. The general interval, as you may recall, is simply the number of letter names from one pitch to another (remember to count the starting pitch as 1). In (a), C-E is a 3rd, C-G is a 5th, hence the 5/3 figured bass symbol. It is important to know that each figured bass number represents an interval above the bass.
    [Show full text]
  • Here to Download the Second Homework Assignment for This Chapter
    NAME _________________________________ HOMEWORK EXERCISES Assignment 24—Augmented 6th Chords 2 Section 1. Analyze the following chords with lead-sheet symbols above and Roman numerals withD: _____figured bass g: inversion_____ Esymbols¯: _____ below. D ¯: _____ c ˜: _____ A¯: _____ 81 _____ _____ _____ _____ # # # w w bb # w b w & w #w #ww #w #w w # w w ? # w bb w ## b 1. G: _____ 2. g: _____ 3. A: _____ 4. d: _____ _____ _____ _____ _____ b # # # E 7 F/A b G 7 #A7( 5)n w G o/Bb A o7/C # # w ¯ & b ¯ w ¯ w ˜ #w˜w ˜ w 34 7w 7w 7 o7 7 ____A (¯5) ____ D¯ ____E¯ n w D ____˜ /F ˜ ____ B¯ 734 ? b # w # # w b b bw # b b w # # #w 5. E : _____ 6. b: _____ 7. F: _____ 8. c : _____ # # ‹¯ w # ˜ #ww # # ww b nw # #ww #ww b w Section& 2. Given the Roman numeral,w please write bthew notes of the# chordw and lead-sheet symbol. Include key signatures.+6 b w+6 +6 o6 +6 1. c˜: Fr 2. F: It 3. G: EnGer 4. a: vii 5/V 5. d: Ger # # _____ _____ _____ _____ 739 & # # ? #1. f: Fr+6 2. A : iiø4 3. E: +6 4. d: viio6/V ? ## # ¯ 2 EnGer 5 743 _____ _____ _____ _____ & # 5.# G: Ger+6 6. D: 6 7. b: V4/V 8. e : Fr+6 # # N 3 ¯ & (continued on next page) 747 ? # # Music Theory for the 21st-Century Classroom, Homework Exercises, p. 55 # # & NAME _________________________________ Section 3.
    [Show full text]
  • 2. Basso Continuo [PDF]
    Basso Continuo! Gordon Haramaki! Music 110: Baroque and Classical Music History Basso Continuo! “Continuous Bass” “Figured Bass” 1. Treble Melody 2. Bassline melody 3. Chordal “realization” Basso Continuo! Agostino Agazzari Del Sonare Sopra’l Basso Con Tutti Li Stromenti E Dell’ Uso Loro Nel Conserto (1607) Basso Continuo! Agostino Agazzari Sounding above the bass With all the instruments And their use in the concerto (1607) Basso Continuo! Agazzari’s Rules FIRSTLY, know counterpoint, be able to sing, feel proportion and the rhythm, know all the clefs/keys; know how to correctly resolve dissonances. SECONDLY, Know how to play your instrument THIRDLY, have a good ear to hear harmonic movement Basso Continuo! Agazzari’s Rules Instrumental Roles in Realizing the Continuo Instruments of the Foundation Strumenti da fondamento Instruments of Ornamentation Stromenti d’ ornamento Basso Continuo! Agazzari’s Rules Instrumental Roles in Realizing the Continuo Instruments of the Foundation Strumenti da fondamento Play bass melody and realize harmonic support Instruments of Ornamentation Stromenti d’ ornamento “Mingle with the voices in various ways for no other reason but to adorn and beautify” Basso Continuo! Agazzari’s Rules Instrumental Roles in Realizing the Continuo Instruments of the Foundation Organ, Harpsichord, Lute, Chitarrone, Theorbo, Harp Instruments of Ornamentation Lute, Theorbo, Chitarrone, Harp, Lirone, Spinet, Chitarrina, Violin, Pandora Liuto! ! Lute Tiorbo! ! Theorbo Chitarrone Ci “Chi-ta-rra” = Kithara “o-ne” = big ! ! Organo! di Legno! ! Chamber! Organ ! Arpa! ! Harp Lirone “Li-ra” = lyre “o-ne” = big Basso Continuo! Agazzari’s Rules Instruments of the Foundation Play the bassline as it stands, and supporting the voices by occasionally doubling the bass in the lower octave Play the harmony firmly, sonorous, and unbroken Avoid the registers of the voices and not do not double their parts Play within a small compass and low down.
    [Show full text]