Then Dorico came along and showed us how it should be done: in Dorico you select ‘players’ who will end up with individual parts that appear correctly then in the score Dorico offers ‘condensing’ – grouping players onto staves as we’re used to seeing them in conductor scores. Trumpet players don’t want to share a part!) (Extract from the dynamic part linked to the stave pictured above. Trumpet players (and any other numbered part players) will know: this is not okay. ![]() Now if you create a part for Trumpets 1&2 – which share a stave in the score – then the players’ part will show Trumpets 1&2 on a shared stave. An ‘instrument’ in Sibelius could be placed in a part, but it was these ‘instruments’ that we were used to using to group players together. The concept was good and a helpful one, but unfortunately because of the way the program is written, couldn’t go far enough. It wasn’t until version 4 of Sibelius that dynamic parts were introduced, linking individual part files to content in the score. Since its conception, the way we’ve all learned to work in Sibelius is to begin with the ‘score’ as we would expect to see it from a conductor’s viewpoint. One cannot be blamed for creating scores like this. The problem is epitomised by the example shown below, typical of scores I’ve seen many times, including this from a theatrical work I was recently sent to begin engraving ready for publication and performance: As it had been a little while since I wrote anything for large ensembles using the software, coming back to it for this project reminded me of a few problems for Sibelius users – and helped me uncover new possibilities in finding workarounds. ![]() I’ve recently been doing some orchestrations in Sibelius as part of a fun project to introduce some of Debussy’s piano music to youth orchestras.
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