Chromatic Scales Sheets in Dorico

When I set out to make a new chromatic scale resource for my students, I had a few simple goals:

  1. It had to have a shared range on it that we could use as part of our rehearsal warmup
  2. It had to have a different range on it for assessments, more appropriate to each instrument
  3. Since I teach 5-12, I figured I’d just make one sheet with both the middle school and high school versions of points one and two.

Now an important thing pops up right away in that I might want different lengths of chromatic scales for different instruments when assessing. The effective range I want my high school flute players playing is more than the two octaves I tend to expect from my brass. Every teacher will have different opinions, but I wanted to share my Dorico files as a starting point.

If I were trying to do this in other software, I’d be hitting a wall with the differences in length of my “assessed” ranges. I’d just have to have empty measures at the end of some instruments’ pages, OR I’d have the enviable task of having totally separate files for each instrument. Frankly, even if it’s not a good reason, if I were trying to accomplish this in Sibelius, I’d probably standardize the length.1

So that’s what I’ve done in Dorico. Every instrument with the same length is condensed into a single flow, but the flows are only assigned to the relevant layouts. I have a “score” of every layout, so I can keep one reference document for everyone (though it’s somewhat more sane to just keep each instrument’s sheet in a PDF). Because the “shared ranges” (for warmups) have to be the same to use as a warmup, they’re obviously the same length.

Here’s the Dorico project file, and a Zip file of every instrument’s part.2

Criticize the ranges I chose all you want, it’s something I continue to reevaluate myself. I invite you to use this as your starting point, though. It’s also worth noting that I threw some C♭s in place of some Bs for my middle school ranges on C instruments, to introduce them to that idea ahead of getting to the G♭ scale .

You’ll also notice I don’t have every instrument in here; we’re a small school, and I haven’t taken the time to add in some instruments I don’t have any students on right now, but it’s very easy to add them yourself.

Here’s my boilerplate from my last post: For anyone curious on playing with these files who doesn’t have Dorico, pick up Dorico SE. I didn’t test these files in SE, but I think you can get the gist using it. As I recommended in my big Dorico post, the trial is also worth grabbing.


  1. There’s something to be said for standardizing the length from an equitability standpoint, and if that’s where you come down, that’s fine. But to make that decision based on the limitations of the software you’re using is pedagogical malpractice. 
  2. At some point in the future, I’m going to make a more permanent home for these links than links from my personal Dropbox, and I’m reserving this footnote to host the link for when I finally get around to that. 

Rhythm Assessments in Dorico (and a Template)

One of the primary assessments I’m currently using with my students is a set of three rhythm assessments each semester. I won’t go into how I’m managing these with reassessments and how I’ve got the progression through various “rhythmic vocabulary” broken down, but I do want to share how I’m using Dorico to handle these files and share the files themselves as examples.

I have four graded ensembles — my 6th grade band, my junior high band (7th and 8th grade) and my high school band. I want to be able to go over these rhythm assessments as part of our warm-up at the start of class, but my 7th and 8th graders have a separate set of assessments from one another. I also don’t want to be fumbling around with 3-4 different sets of papers myself for my lessons.

Enter flows and layouts. I have each individual rhythm assessment set up as a flow. The first three are assigned to my 6th grade layout, the next six to my JH layout, and the last three just to my high school layout. My “score” layout has all twelve on it so I can print it double-sided or use it on forScore on my iPad.

It’s not the most revolutionary thing in the world, but it’s more convenient than having to fight with separate files or variable lengths of things like I might have to in other programs.

Here’s a link to the blank file that I start from scratch each semester. I’ve tried using macOS’s “stationary pad” feature in Finder to help me use it as a real template, but alas, I just have to be careful with that file to not overwrite it with Dorico, since, as I griped, it doesn’t have templating support.1 The template should have the proper frame and system locks, though if you do much more than four bars in a single system, you might run into trouble. I’m more of an Avenir guy than Futura, but I like using something different for these assessments, and Futura is part of my school’s official branding.

Additionally, here’s the Dorico files I used in Fall of ‘20, Spring of ‘21, and this upcoming Fall.2 And here’s a zip file of the PDFs that it generates for the same three semesters.3 The Fall ’20 ones aren’t quite as reflective of the current form of that template as the Fall ’21 ones are.

For anyone curious on playing with these files who doesn’t have Dorico, pick up Dorico SE. I didn’t test these files in SE, but I think you can get the gist using it.


  1. Though in fairness, something like this is actually above and beyond what I would expect in the template support I hope they implement. 
  2. If any of my students are reading this, no it’s not cheating to get a head start on these, but maybe spend your summer on something more fun than reading your teacher write about music notation software. You’re only young once, and I would question spending it this way. Also, get off your phone and practice your instrument. 
  3. At some point in the future, I’m going to make a more permanent home for these links than links from my personal Dropbox, and I’m reserving this footnote to host the link for when I finally get around to that. 

Teaching Scales

I’ve put off posting for awhile because I’m running into some specific formatting issues with the top post in my drafts folder that I’m hoping a friend of mine can help me with.  In the mean time, I thought I’d dig up some resources for other music educators I’ve been meaning to post.  Today I’ve got some handouts for students on understanding major scales.

Beyond just knowing how to play any number of major scales on their instrument, it’s important that students understand the fundamentals of constructing them.  Beyond the muscle memory (that is itself a valuable skill for performing most diatonic music), it forms the basis for understanding a great deal in theory, and specifically serves as the best foundation for learning other scales (minor scales, modal scales, etc.)

While I’m sure there are more ways to conceptualize scales effectively (especially outside of the concert band set-up), through my own teachers and teaching experience, I’ve encountered two dominant approaches that I’ve made handouts for:

The first is understanding them by the circle of fourths.  This is my preferred method for teaching scales.  The way I see it, it builds a more innate understanding of the relationships between keys, which encourages a faster mental turnaround.  Of course, there’s a lot of bias in that viewpoint, because that’s the way I learned my scales.  I was fortunate to my former high school band director—Steve Stickney’s presentation at the 2017 Iowa Music Educators’ Conference on warming up bands, where he discussed teaching scales this way.  He had some useful warmups in his presentation notes that he has graciously permitted me to share.  These are useful regardless of your teaching approach on scales.

The other way that I have been exposed to teaching scales is through a series of rules that focus on the relationship between the last accidental and the name of the key.  While I think this requires more steps of processing longer in the learning process, it does better allow a teacher to guide a student to getting their answer and formatively assess where the comprehension may be breaking down in a lesson more easily.

I know both seem a little wordy, but during my student teaching, I was seeing light bulbs go off for seventh graders who were reading the latter handout after having had scales explained more than once in class.  While I’m fine with my second handout as is, I’d like to update the first for students down the road.  It would probably need to go on to a second page, but I would like to elaborate a bit more and discuss how “adding flats” to a key with sharps is just removing sharps (and vice versa).

I hope others find these useful!  Feel free to drop a line in the comments or on any other platform on the side bar regarding these!

Using Sibelius on a Laptop

In my opinion, Sibelius has some decent and intuitive keyboard shortcuts on a full keyboard, with its heavy emphasis around the numpad.  However, I find it to be essentially unusable on a Macbook Pro which lacks the numpad.  It has a “notebook” shortcut set, but I find that to be just as unusable, and far from intuitive.

I find it important to be able to enter into Sibelius very quickly.  I don’t use a MIDI keyboard input, and in all apps I try to minimize my use of the mouse.  As such, I’ve customized my keyboard shortcuts in Sibelius and I think they’re worth sharing.  Not just do I think they make Sibelius truly usable on my Macbook Pro, but I think they’re good enough that they could be faster for desktop users than moving their hands back and forth between the numpad.

You can download my shortcuts here.  To install them, you simply need to add them to your keyboard shortcut directory.  On OSX, this is located at:

~/Library/Application Support/Avid/Sibelius/Keyboard Shortcuts

You can open Finder, press ⇧⌘G, and paste the above path into Finder to load the folder open.  Here’s a video describing the process:

It’s worth noting that I don’t know if this shortcut file is usable on Windows because of the difference in modifier keys.  If someone would like to take my shortcuts and make an approximation for Windows, I’d be happy to link to it in this post.

I made this before I thought it would be worth sharing, as such, I didn’t document every change from the default. Feel free to share in the comments anything that’s different that I don’t mention. Maybe there’s a way to compare my shortcut file with the default with a script.

The biggest change is how I rebound the numpad.  As in Avid’s keyboard shortcuts, 1–9 on the numpad are mapped to 1–9 on the top row of the keyboard.  The top row (on Apple’s default keyboard, the characters =,/, and *, which cover the accent, staccato, and tenuto on the first page of the keypad) are bound to ⇧-, ⇧=, and ⇧⌫ on the number row.  The numpad “enter” is rebound to \ (which does ties on the first page of the keypad) between return and delete on the regular keyboard.  The forward and backward keypad buttons (+ and – on Apple’s numpad) are rebound to = and – without shift on the number row.  This lets you use the entire keypad without moving your fingers from the home row.

Other, less significant differences that I’m aware of:

  • ⌥⇧+2–9 are add below
  • ⇧, is advance caret (from when I was trying Dorico)
  • ⇧. activates the “Dot Undot Rhythms” plug-in (also inspired by my Dorico trial)
  • ⇧0 is bar rest
  • ⌥M triggers marcato accents.
  • Accidental parentheses is ⌥P (this is just a shortcut to the “bracket accidental” action on the accidentals keypad, and is subject to the same finicky behavior there)
  • Some rebinding done in the “Moving” options
  • I had ⌘P as export>pdf actually because I almost never physically printed directly from a dialog during my undergrad. It’s not the case in this file, but it might be useful for others.

There are some shortcuts that are worth noting that I’m unsure if I changed:

  • ⌥F is fermata
  • ⌥O is Optimize Staff Spacing
  • I might have moved other things around under Layout shortcuts
  • ⇧N is stop playback
  • ⌥⇧H toggles the selected “invisibles” in the View pane from showing or note showing.

The following bindings are open and might be useful if there’s something you really want bound that I don’t have bound: ⌥+0, ⌥+1, ⌘+1, ⌘+0

It’s worth noting I don’t have the following actions keybound:

  • Beaming – none of the actions on the third keypad are bound, I just change over to it
  • Breath marks – Individual symbols can’t be bound in Sibelius, but I think I’m going to use the Scoring Notes’ breath line workaround down the road.  Lines can be keybound and I think custom lines can be as well.
  • Barlines – I don’t see a way to bind a shortcut to just open the barlines pane (like you can the time signatures, etc.), and no single barline type is worth binding to me, but it might be to you.

Shortcomings:

  • When you’re entering in text, you can normally use a number of shortcuts to put in symbols (like ⌘4 for a quarter note in the text).  I believe these shortcuts only work with the numpad numbers, and I can’t find a way around this.  Would love to hear otherwise in the comments.  See below
  • I don’t know that it’s possible to do tab notation with the default keyboard shortcuts without a numpad.  My shortcuts don’t fix this and I don’t know that there’s a way to do that.

I do all of my work in Sibelius without using my MIDI keyboard.  The three main advantages of using one to me are:

  • Pre-selecting your octave instead of changing it after inputting the note (and thus hearing only the note you intend)
  • Putting in chords all at once
  • Velocity for playback

I am not so bothered by the first or third points for it to be a consideration, and I work primarily on wind parts, and the second part is fairly moot unless you’re editing primarily for piano parts.  To me, the speed of doing everything so fluidly without moving your hands from the computer keyboard makes this set-up more viable than using a MIDI keyboard.

Here’s a video demonstrating these keyboard shortcuts in action.  This video is primarily aimed at just demonstrating workflows in Sibelius for students to get a better handle on the software, but hopefully it demonstrates the speed at which you can work in Sibelius with these shortcuts.

 

Edit 1/26/18:
I’ve discovered that you can customize the shortcuts for inserting special text.  I have miraculously ignored the Word Menu options under Preferences since I bought Sibelius.  It’s worth noting that there is nothing visually distinguishing about the way it’s bound by default and the way it needs to be bound for use on the number row (both say, for example, on a quarter note ⌘4).  You also need to change them in each category, the most important for note values being “Tempo Words.”

I have modified this on the upload of my keyboard shortcuts I have posted, however I do not know if this is stored in that file.  You may need to fix this yourself.  Please let me know one way or the other whether this is remedied by my shortcuts file if you try it.  If it’s not working, try setting this file in:

~/Library/Application Support/Avid/Sibelius/Word Menus