hautbois baryton wrote: ↑10 Jun 2018, 19:25
Are you saying if I suddenly have 3 solo violins with their own staves and a
gli altri stave, I can't bracket the 3 solos?
No indeed, you can't. Your 3 solo violins and the gli altri staff and (!) the second violins will all be bracketed together just because they're all playing the same instrument and there's nothing you can do about it except for turning off subbrackets completely.
What's more, it's currently not even possible to create subbrackets that contain all instruments of the same family (oboe, cor anglais etc.)...!
If I recall correctly, Daniel Spreadbury wrote at some point that they were planning to implement more flexibility in terms of bracket management and staff labeling in 2.0 but ran out of time… something like that. I seriously hope that they'll add this soon.
hautbois baryton wrote: ↑09 Jun 2018, 00:20
I also want to see how movement titles are handled in parts when they occur in the middle of a page.
There's no automatic solution for this yet. As of now, if you want flow titles in the middle of a page you have to create additional text and music frames yourself. Of course you can use a masterpage as a template for this but you always need to adjust the frame heights according to the music.
Speaking of parts and layouts: there's still one huge workflow issue. Many property changes are layout specific. This can be helpful, but it is not at all helpful if you create a crescendo line in the score but have set the default appearance for gradual dynamics to hairpins — although you entered it as a crescendo line, it will appear as a hairpin in the parts and you have to change this manually in every part for every instance. It's… annoying, to say the least.
Having said all of that, I still agree totally with benwiggy. There is no comparison with the the amount of tedious work I have to do in Finale to produce acceptable results and this makes Dorico a godsend. And then… the underlying concepts are so elegant, beautifully simple and well thought out that I enjoy working with Dorico more than I have ever enjoyed working with Finale.