#DORICO GLISSANDO UPDATE#
#DORICO GLISSANDO PROFESSIONAL#

Shift– M for meter, or time signature Shift– T for tempo Shift– K for key signature, and so on).

We are using a consistent set of key command patterns wherever we can: single keys for basic note input and editing ( A for a note with pitch A, Q to start inputting a chord, or “quord” if you prefer, S for a slur, and so on), and Shift with a letter key to start inputting other markings (e.g. Take a look at this little capture, which shows creating a dynamic by typing, then editing the resulting dynamic using the buttons in one part of the Dynamics panel. You can input notes, dynamics, and other markings using the mouse by clicking in the panels and then clicking into the score where you want the note or marking to be placed (and the application will automatically position the marking for you according to the current set of engraving options), but the quicker way to create things is to use the computer keyboard. The right-hand panel, by contrast, can show one of about a dozen different panels for creating other kinds of notations, such as clefs, key signatures, time signatures, tempo marks, and, of course, dynamics. The left-hand panel in Write mode contains the main controls for inputting notes, including choosing the note value, setting accidentals and articulations, and changing various options related to note input and editing, which perhaps we’ll talk about more another time. Dynamics, along with all other musical material, are created in Write mode. In each mode, collapsible panels down the left- and right-hand sides of the screen, and in most cases also along the bottom too, show the main interface elements for creating and editing your music. Our application has a single-window design, with the interface split into five different modes (Setup, Write, Engrave, Play, Print), roughly divided up according to the different phases of working on a given project. This gives us an opportunity to talk about a number of different aspects of the application, including how different notations are created, how the program thinks about them, and how they can be edited by the user. In this installment of the diary I’ll touch on a few of these areas to give you a flavour of where we are spending our time. We continue to work on every area of the application, from its engraving engine to input and editing methods, by way of user interface design and work on integrating the Cubase audio engine, and more besides. I am pleased to report that the feedback we have had so far is universally positive, and this is a source of great motivation for the team.

#DORICO GLISSANDO PROFESSIONAL#

Building an application that is suitable for truly professional use is our primary goal, and meeting with top professionals helps to validate our approach. It has been very exciting to get out on the road and to be able to show the application to professional users, to share with them some of the things we have been working on, and to gather their feedback. Henle Verlag, and in October I was in New York City meeting with nearly two dozen engravers, editors, and production managers from the city’s top classical music publishers, including Boosey & Hawkes, Schott, Theodore Presser, Carl Fischer, ECS Publishing, Subito Music, and others. In early July, I travelled, along with my colleague James Larcombe, who is one of our developers, to Munich to meet with the engravers and Head of Publishing at G. The past several months have included two meetings with people in the music publishing industry.

#DORICO GLISSANDO UPDATE#

I hope this update will bring you some festive cheer and excitement for the year ahead. It’s been a long time since the last entry in this diary, and as the year draws to its close, I know there is an appetite for news on how our project is progressing.

Dorico glissando