Many thanks for taking the time to give us these explanations, Craig. And
to you, Robert, for your answer to my question as well.

— Mike

On January 26, 2019 at 5:01:52 PM, Craig Parmerlee (cr...@parmerlee.com)
wrote:

> Here are some observations about each of the plug-in examples.  Let me
> stipulate that the Finale plug-ins might provide some unusual visual
> results that aren't directly matched by Dorico, so I am not claiming
> equivalence on any of these.
>
> 1. Copy arbitrary material regardless of barlines, etc.  This is
> inherent in Dorico, and I think you would find this far more productive
> in Dorico.  Dorico does not provide any drag-and-drop, but the cut and
> paste model is extremely powerful.  It even allows 1-to-many pasting,
> and pasting to discontinuous staffs and so on.  Also there is a very
> powerful capability where you can select any material, press "R" and it
> automatically duplicates the material placing it immediately to the
> right of the selection, which still expressing everything correctly with
> no touch-up required.
>
> 2. Mass relink.  This is inherent in Dorico.  Moreover, Dorico seems to
> make better assumptions about when to automatically reflect score
> changes in parts and vice versa.
>
> 3. Autocreate MM rests.  This is always automatic.  You never "create"
> any MM rests.  It is inherent. There are some options for visual
> appearance.
>
> 4. Multiple sets of not spacings.  I am not aware of anything line this
> in Dorico.  Of course you can edit the parts directly to apply any
> spacing you need.
>
> 5. Designate certain text as titles. There is only "text" and "system
> text" in Dorico.  There is no hierarchy of text objects, such as an
> outline mode in a word processor.  However, you have a great deal of
> control over the formatting of any text object and you can freely copy
> and reuse any of your text items.  So if you have a text object
> formatted as a "title", you can copy that anywhere else you need a
> similar title to appear.  Moreover, Dorico has a higher level of
> abstraction for these situations.  Your file can consist of multiple
> "flows", which are like movements. And each flow can have a title, with
> options how and when to display those titles.
>
> 6. Mass align hairpins.  There is no mass alignment, but if you have a
> 4-bar passage, you can enter the dynamic as "Fp<mp>ppp" and Dorico will
> enter that dynamic as a group that is all aligned.  And if you copy that
> group to other staves, they will be aligned (taking in to account the
> collisions).  So if you enter it properly, you never need to go back and
> fix it.  Dorico moves the groups around (maintaining the alignment) as
> needed even if the music changes to create a new collision.
>
> 7. Various fixes.  Most of these situations just don't happen in
> Dorico.  And you have complete control over the rhythmic position and
> length of every object, so anything like this is very easy to fix.
>
> 8. Movements.  See 5 above.  it is far more elegant than in Finale.  And
> flows have other uses.  I often keep extra flows in my score as
> scratchpads or two different versions of a harmonization until I am sure
> I have it right.  I just did a big band chart that has a 16-bar a
> cappella fugue in 4 voices.  That was very tedious as I am not a fugue
> person, so I created a separate flow just for those 16 bars.  That
> 16-bar flow was reduced to only 4 players plus a chord playback staff so
> I could get all the counterpoint working.  Once that was right, I coped
> those 16 bars to the main flow and expanded the voices to let that
> section build over the 16 bars.  This is all very straightforward under
> Dorico.  You can certainly do something like that with Finale
> programming a view, but I'd probably put the scratchpad in a completely
> separate MUSX file.  Either way works, but it is much faster in Dorico
> because all of the above is just a few mouse clicks in setup mode.
>
> 9 Transfer page payout.  There is no template capability in Dorico,
> which is a bit of a weakness. However, if you have a score set up the
> way you like it, you can easily copy that and use that as the basis for
> your new project. And you can do that after the fact by exporting your
> flow(s) from one score and importing the flow(s) into the score that has
> the layout your want.  And as far as parts go, Dorico has a "master
> page" structure where you can develop a master page that can be used by
> any number of parts.  This area of Dorico is rather complicated, but
> looks very powerful.  I haven't used it much.
>
> 10.  TG Tools.  No questions on this one.
>
> 11. Proportionately scale staffs.  I don't know about this.  There are
> lots of options in Dorico for this kind of thing, but I don't know that
> any of them do what you want here.
>
> 12. Modeless plug-in problem.  I don't know about that.  There aren't
> any plugins in Dorico.  You can, however, do hot key assignments for any
> of hundreds of commands. And there are folks who are using the "Stream
> Deck" keypad to really boost their productivity.  I haven't done that
> yet.  That's not a direct replacement for plug-ins, but enables a
> different kind of workflow that may enable even greater productivity
> than you get from plug-ins.
>
> I'm not trying to sell anybody on Dorico.  I am only trying to explain
> how it differs from the architecture of the older programs.  It really
> is a different experience.  You would develop a different workflow, and
> anybody deeply invested in the plug-in style of operation may find that
> difficult to change.  To me, it boils down to the apparent fact that
> Finale is not going to be improved very much from this point.   If
> Finale is doing what one needs, then stick with it. Dorico is radical in
> some respects.  It isn't for everybody.
>
>
>
> On 1/26/2019 10:04 AM, Robert Patterson wrote:
>
> Besides the Patterson Beams, TGTools, and JW plugins included in Finale, I
> use 3rd party plugins to
>
> 1. Copy arbitrary combinations and patterns of expressions, dynamics,
> articulations, and other elements in a repeated fashion, independent of
> barlines, both vertically and horizontally.
>
> 2. Mass Relink, which can relink the score to the part's settings or vice
> versa.
>
> 3. Autocreate multimeasure rests with many more options than Finale has,
> including the ability to add extra space for clef changes or force the
> creation of multimeasure rests in places where Finale won't create them.
>
> 4. Maintain multiple sets of note spacing settings per measure region and
> per part. Then a single invocation of the plugin spaces the music according
> to those settings, taking into account the current part. Even better, by
> means of a nifty trick that someone suggested on this list. the plugins can
> get tighter spacing with ledger lines than Finale does.
>
> 5. Designate certain text expressions as titles (i.e., for movement titles)
> or footnotes or headnotes. Then invoke a plugin than finds them in every
> part and correctly positions them. This is *way* better workaround than
> Finale's Page Titles for this kind of thing.
>
> 6. Mass align and move dynamics and hairpins. (TGTools Align/Move is
> included in Finale but the version in the full TGTools is much more
> powerful.)
>
> 7. Quickly repair common screwups in Finale, such as restoring lost note
> spacing from a saved copy or moving expressions and endpoints that have
> lost their notes due to Speedy edits.
>
> 8. With one simple menu click, start a new movement. That is, show full
> names, indent the first system, restart the measure numbers from 1, twiddle
> the measure bits in the current and preceding measure as needed. With one
> menu click that has no dialog box.
>
> 9. Transfer page layout from one document to another and/or one part to
> another and/or within a single document or part. Including (optionally)
> system baselines for expressions and lyrics.
>
> 10. I recently discovered the JW Change plugin that can do so much that I
> have only begun to digest all the ways in which I might use it.
>
> 11. TGTools has an option to proportionally expand or contract the staves
> in a system. This saves me hours, especially on large multistaff scores
> like orchestra scores. Then once you have that system perfectly fitted to
> your margins, you can copy the staff layout to page after page and make
> only minor tweaks thereafter.
>
> 12. Fix the focus problem with modeless plugin windows on Mac (Fin25.4 and
> higher).
>
>
>
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