Dorico showcase: Canadian choral composer Andrew Gilpin

Daniel Spreadbury

This post is part of a series that aims to shine a light on projects in which Dorico has played a part. If you have used Dorico for something interesting and would like to be featured in this series, please let me know.

Andrew Gilpin is a self-taught pianist and composer who rebelled against formal music lessons at a young age, but through an exploration of many different genres and styles of music through his adolescence and young adulthood has become an eclectic musician whose works span genres from jazz to more traditional choral music.

This year, in advance of the ACDA Conference at the University of Minnesota in Minneapolis, Minnesota, Andrew chose to revise his large-scale work Gloria using Dorico, having prepared the original version in Finale. I caught up with Andrew to find out how he found the experience of moving his project over from Finale into Dorico.

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Dorico showcase: pianist-composer David Ianni’s My Urban Piano project

Daniel Spreadbury

This post is part of a series that aims to shine a light on projects in which Dorico has played a part. If you have used Dorico for something interesting and would like to be featured in this series, please let me know.

David Ianni is a pianist-composer from Luxembourg who has undertaken a unique project celebrating the European Capitals of Culture, composing and performing pieces for solo piano and working with a local designer to produce a custom piano that will be given as a gift to each city. David has just released the second piece of twelve in the “My Urban Piano” series, and I caught up with him to find out more about the project, and how Dorico is playing its part.

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Dorico 1.1 released with chord symbols, repeat endings and much more

Daniel Spreadbury

Dorico 1.1 has been released today. This fourth update to Dorico – following 1.0.10 in November, 1.0.20 in December, and 1.0.30 at the end of February, between them adding more than 500 improvements and fixes – is the most significant update yet, itself bringing many substantial new features and hundreds of smaller improvements.

Dorico 1.1 is a milestone in the maturity of our new professional scoring application, and introduces not only the most sophisticated support for chord symbols in any software, but also repeat endings, piano pedaling, editable note spacing, huge improvements to input and editing in Write mode, greatly expanded functionality for the piano roll editor in Play mode, and much, much more.

To give you a taste of what you can expect in Dorico 1.1, watch this overview video created by my colleague (and undisputed star of the Dorico YouTube channel) Anthony Hughes, who runs down the headline improvements in less than 10 minutes.

(If you simply can’t wait, you can go ahead and download the update, and read the comprehensive summary of every change in the Dorico Version History.)

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Tutorial: Typesetting choral Preces and Responses in Dorico

Daniel Spreadbury

In this post I’m going to share the procedure to put together a performing edition of a set of Preces and Responses, based on the text of the Book of Common Prayer. The Preces and Responses are part of the choral evensong service in the Church of England and in Episcopal and Anglican churches around the world. They make an interesting case study for Dorico because they consist of a series of short versicles sung by a cantor, each one followed by a response sung by the choir, and this is an ideal fit both for Dorico’s multi-flow and page layout features.

The particular set of Responses I am going to produce is by William Smith, an English composer from the first half of the 17th century. The Smith Responses are often sung with a setting of the Lord’s Prayer written by Robert Stone, since Smith’s setting includes only a simple chanted version. I will be including Stone’s setting of the Lord’s Prayer in my performing edition. If you want to follow along exactly, you could use Sjouke Bruining’s edition on CPDL as a source: this edition uses the original note values, but I am going to halve the note values in my performing edition, as this reflects modern practice more closely.

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Dorico showcase: BBC Proms Inspire winner Sam Rudd-Jones

Daniel Spreadbury

This post is part of a series that aims to shine a light on projects in which Dorico has played a part. If you have used Dorico for something interesting and would like to be featured in this series, please let me know.

We like to say that Dorico is the future of scoring software, and it is really gratifying to see a new generation of composers using Dorico to help bring their musical vision to life. Lincolnshire-based young composer Sam Rudd-Jones is still at school, but last year his work Angry won the Upper Junior category in the BBC Proms Inspire Competition 2016, which garnered him an opportunity that many more established composers will envy: a commission from the BBC for another piece, to be conducted by Rumon Gamba and which was broadcast on BBC Radio 3’s flagship contemporary music programme, Hear and Now, this past Saturday. I caught up with Sam to find out more about the commissioned work, Opposites Attract, which he produced in Dorico.

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Dorico showcase: From Seattle to New York with Elizabeth Lain

Daniel Spreadbury

This post is part of a series that aims to shine a light on projects in which Dorico has played a part. If you have used Dorico for something interesting and would like to be featured in this series, please let me know.

At the beginning of April, a unique concert took place at Gallery MC in New York City, staged by Listening to Ladies, a collective founded by composer and visual artist Elisabeth Blair in 2015 on Facebook as a means of highlighting musical works by women composers. Since then, it has expanded into a daily online showcase, a podcast, and also a concert series, of which the concert in Manhattan is a part. The concert, presented in association with wind, brass and percussion ensemble Vent Nouveau, featured 10 works by women composers, selected from more than 200 scores submitted by over 140 composers.

Among those composers is Elizabeth Lain, who describes herself as a “composer, performer, rock oboist, and urban mermaid”. If that’s not a description that makes you want to find out more about an artist, I don’t know what is!

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Dorico showcase: Choral music from a cathedral city

Daniel Spreadbury

This post is part of a series that aims to shine a light on projects in which Dorico has played a part. If you have used Dorico for something interesting and would like to be featured in this series, please let me know.

Chichester is a cathedral city in Sussex, on the south coast of England. With its cathedral dating back to the 12th century, it is one of dozens of similar cities around the United Kingdom with a long history of religious devotion, and religious music. Chichester Music Press is a publishing house founded in the city, run by Neil Sands, a composer, singer, organist, programmer, music typesetter, and, of course, proprietor of a publishing house!

Chichester Music Press’s catalogue already contains two works typeset in Dorico, so I wanted to find out from Neil how he has found using Dorico for publishing so far.

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Dorico 1.0.30 update released, with over 120 improvements

Daniel Spreadbury

We are pleased to announce that the third maintenance release for Dorico, version 1.0.30, is now available as a free update for all existing users (including users of the free 30-day trial version). This update doesn’t add many major features – though we are working on several, as described in my most recent development diary update – instead focusing on fixing bugs (of which more than 80 have been addressed in this update alone), but we have made significant improvements in a couple of key areas, specifically in playback, and in the handling of rests.

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Dorico showcase: Ljova’s Clarinet Quintet scored in Dorico

Daniel Spreadbury

This is the first of a new series on Making Notes that will shine a spotlight on projects in which Dorico has played a part. If you have used Dorico for something interesting and would like to be featured in this series, please let me know.

Lev “Ljova” Zhurbin is a violist and composer of some renown. Having been born and spent his formative years in his native Moscow, he moved with his parents to the United States in 1990 at the age of 11. The apple didn’t fall far from the tree – his father is the prominent composer for Russian film and musical theatre, Alexander Zhurbin, and his mother is poet, writer and journalist Irena Ginzberg – and he started his studies on the violin at the age of four. Showing great promise through his childhood, he graduated from The Juilliard School of Music in New York, and has since forged a very successful career as both composer and performer, with dozens of works for the concert hall, the stage, and the screen.

Ljova’s latest composition, his Clarinet Quintet, was premiered in San DIego, California last week, and it was his first work completed in Dorico. I caught up with Ljova to find out more about the work, and about his experience of putting it together in Dorico.

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Development diary, part 16

Daniel Spreadbury

We are preparing to release the next Dorico update, version 1.0.30, which focuses on improving playback, fixing bugs, provides new tools for working with rests, and adds a few other small features. At the same time, we are also working on the next update, which is still a little way off, but which will include some features that are larger in scope. I thought it would be fun to write a new instalment in my fabled development diary series giving you a bit of insight into what we’re working on.

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