So, why bother? I wondered whether there was a programme more efficient than Sibelius, where I wouldn’t be pressing the ‘escape’ key every other second and wouldn’t have to restart a whole piece if I had changed my mind and did want an upbeat at the start after all. In this post I'll share my initial thoughts as a new user of Dorico… Why make the change?Īfter 20 years of using Sibelius – as a GCSE music pupil myself (it was revolutionary back then!) and than as a teacher, there was an inner reluctance to make the change. Knowing that the Dorico staff used to work on Sibelius, I was also curious to see how they had improved the user experience and whether they had managed to create a superior product. I have heard it being described as “intuitive software” and I was intrigued to find out what this meant. I'd read various reviews and articles and met the Dorico team at several music conferences, where I was able to try out the software. No comment was provided, although we did mysteriously receive a package at Scoring Notes headquarters several days later containing the following items:įurther investigation revealed the source code for the secret project that the Dorico team is working on for a future update.As a long-time user of Sibelius software I’ve recently made the jump to Dorico. We inquired with Steinberg about whether they had any similar plans to introduce a similar feature in Dorico. The cost of the Finale update was not available at press time, but “priceless” is what comes to mind for such revolutionary technology. You can always click the truck and open the secret sub-palette which provides additional options for managing the wait: Users of Finale, however, may find that it takes a while to get satisfactory results, and your screen may look like this for some time:ĭon’t despair, however. One stunning example of music produced via this method is evident in a masterpiece entitled The Visual Index: An example of music automatically composed by Finale The revamped Tool Palette in Finale, with Arbitrary Music and Hocket In addition to the familiar tools like the Clef and Key Signature tools, Finale has added two more especially for composing: an Arbitrary Music Tool, so you can never worry again about having an original idea and a Hocket Tool, to fill in all the places that the Arbitrary Music Tool missed the first time. Not to be outdone, the latest version of Finale adds more tools to its vaunted palette, and you might well wonder what you ever did without them. Just look at an example of the genius output of this “manuscript paper that thinks”: An example of music automatically composed by Sibelius Finale: Arbitrary music, hocket tools fill the gaps A small price to pay, indeed, for relieving the stress of meeting a commission deadline. Sibelius: Manuscript paper that thinksįor the modest fee of £888 ($1,166 USD), you can forget about ever needing to struggle with an original musical thought again. We also learned about a secret Dorico project that’s underway. Indeed, you’ll soon forget about the drivel created by Wolfgang Amadeus and Johannes Sebastian, when you see what both Sibelius and Finale are capable of in their latest releases. No less than an editorial from The Times has already gushed that the latest version of “Sibelius can notate, print, and play a musical score at a pace even more rapid than Mozart at his most fecund… Imagine what wonders Bach could have worked with such technology.” Saving users from the tedium of actually thinking about pitches, rhythms, and boring elements of music like instrumentation and dynamics, today Avid and MakeMusic both released new versions of Sibelius and Finale, their flagship notation software, respectively, that composes music automatically.
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