There is a true one to one correspondence between staves and parts in Sibelius. Of course, we wouldn’t want any of these additional staves to display in the score. Splitting these problem parts out onto individual staves would be a good solution for these occasional issues. Ties don’t always appear in correct orientation to the stem direction (this seems to happen with older Finale files which have been updated.)
For instance, grace notes do not space properly with “Specify Voicing” on. Additionally, there are a few layout quirks that have not yet been addressed even in the most current version of Finale. Note and rest content which is under control of the Voicing feature cannot be edited in the Part View, which means that a majority of Plugins do not work while viewing the Part (you can round-trip back to the score to run most of these plugins). The feature will save you hours of work, but there are some things to be aware of. Additionally, the user can specify whether single note passages are to be considered player one only, or if single note passages are unison. “Specify Voicing” provides the control for which notes will display in each Linked Part. Finally, we “Specify Voicing” for each linked part.
Clarinet 1&2) to one or more Linked Parts. We then assign each score instrument (e.g. We first create (or edit) a list of Linked Parts, and name them (e.g. The process is straightforward, and is all done from Finale’s “Manage Parts” dialog. Let’s take a look at how each program currently integrates score and parts, and some ways we can make Finale and Sibelius best work to our advantage despite any limitations.Ī chorded or divisi score staff can be divided into two or more parts automatically in Finale using a feature called “Edit Voicing”. Quite often, the requirement is for pairs of instruments appearing on a single staff wherever possible: Clarinet 1 and 2 on a single staff, Horn 1 and 3 on a single staff and so on. For this tutorial, we’ll start with divisi or chorded staves in the score, and create individual parts from these. Generally scores with fewer systems are easier to read. Ideally, woodwind and brass players should not be required to locate their lines from within a divisi part.Īt the same time, the better organized an orchestral score is, the more readable it becomes. With some notable quality control exceptions in currently published music, common practice is to have one instrument per staff in the parts. Woodwind and brass instruments aren’t polyphonic. In general, having scores and parts linked in one master file has proven to be a godsend, but there are some caveats. Sibelius calls its parts integration feature “ Dynamic Parts“, while Finale labels their feature “ Linked Parts“. Today, parts are integrated within the score and the content is intelligently married. Any subsequent changes to the score *also* required edits to one or more (or all) respective parts. The programs would dutifully export twenty or thirty cryptically named parts files onto your Desktop which would then need to be cleaned up and individually prepared for printing. In the early days of Finale and Sibelius, individual parts were generated from a master score via a painful and aptly named process referred to as “Extraction”.
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