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The End of Finale – Moving to Dorico

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So just a few minutes ago MakeMusic announced the end of Finale. This is a massive change to the industry with big implications. Tons of composers, arrangers, and orchestrators from classical to Broadway to Hollywood all use Finale and it’s now going away. It’s a major change for all of composition right now.

Finale’s Announcement

Today, Finale is no longer the future of the notation industry—a reality after 35 years, and I want to be candid about this. Instead of releasing new versions of Finale that would offer only marginal value to our users, we’ve made the decision to end its development.

Effective immediately, we are announcing these changes:

  • There will be no further updates to Finale, or any of its associated tools (PrintMusic, Notepad, Songwriter)
  • It is no longer possible to purchase or upgrade Finale in the MakeMusic eStore
  • Finale will continue to work on devices where it is currently installed (barring OS changes)

After one year, beginning August 2025, these changes will go into effect:

  • It will not be possible to authorize Finale on any new devices, or reauthorize Finale
  • Support for Finale v27 or any other version of Finale will no longer be available

My History with Finale

I first started using Finale in 2005. It was my first serious music software and I worked hard to learn it. I remember when I first bought it from some music store, the guy behind the counter said “make sure you read the manual, this is confusing stuff.”…boy was he right.

I worked in Finale for 17 years before getting so frustrated with writing a large choral & orchestra work that I rage-bought Dorico 4. I detailed my move to Dorico in this video from last year:

I think I’ll be doing more Dorico tutorials to help composers with the adjustment, but suffice to say this is going to be a pretty major change to the industry.

What I Like About Dorico

Here are just a few tidbits about what I like about Dorico

  • MIDI shortcuts: You can create commands and hotkeys using MIDI CC input – this means you can also use TouchOSC to create a template and speed up your workflow in engraving.
  • Modern Navigation: You can use a mousewheel to zoom in and out. I know that’s so small and simple, but holy shit is that a time saver.
  • Parts Editing: Often with band pieces I need parts that are not in the score. For example a Euphonium part that is in treble and also in bass clef. I’ll usually keep the bass clef version in the score and have a treble clef version available. Dorico makes this so easy to do to have the part in existence that is easy to edit and still hidden in the score.

The Future with Dorico

Now that MakeMusic has forced our hands to move forward with Dorico (or Sibelius), I’m going to spend some more time making tutorials for you all. I hope that helps and eases the pain of the transition. Transitioning any software is tough, I feel you. You can do it though. There are a lot of resources and I think folks will find that once they get in to Dorico, they’ll see the benefits. You also don’t have to start from scratch. You can import an XML of your Finale files to Dorico.

What’s Next for Finale And Dorico

Right now MakeMusic and Steinberg have come up with a deal to help with the transition between Finale to Dorico:

For a limited time, users of any version of Finale or PrintMusic can purchase Dorico Pro – the highest tier of the product – for just $149 (retail price $579). The have also provided this FAQ that will “assist” you as you transition from Finale.

Be sure to export all of your Finale files as PDF and XML for future use. Finale should still run on your computer for a bit, but because of it’s lack of future development, that means that as your operating system on Mac or Windows upgrades, older software may no longer open or operate correctly. So be sure to export this file types so that you can access and work with your original music in the future.

If you need help with the transition, have questions about moving to Dorico, or you just want to vent, feel free to reach out!

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    Tim Corpus is a composer with a genuine lyric impulse. He writes music that is at the same time challenging and appealing - which should be the ideal of any composer. He has a wonderful ear for sound and for shape. This is a composer with a real and important voice.

    Henry Fogel Retired Dean of the Chicago College of Performing Arts and CEO/President of the Chicago Symphony Orchestra

    ...`{`Three Pieces for Five Timpani`}` is an outstanding addition to the literature for timpani and great for advanced recital programs.

    George Frock Professor Emeritus, The University of Texas

    Tim Corpus is a wonderfully skilled composer who has important things to say with his music. His debut album, Breath, is extremely impressive. Beautiful and exciting music to be sure!

    Larry Alan Smith Composer

    Tim Corpus' music is complex, original and steeped in tradition. His Three Pieces for Five Timpani is clearly an extension of the composers, such as Elliott Carter, that came before him. The pieces are challenging but fulfilling to learn and perform. Possibly the most important thing about Tim's timpani writing is that audiences will enjoy listening to his compositions. He is taking solo timpani writing to the next level.

    Ed Harrison Timpanist of the Lyric Opera of Chicago

    The melodic gestures in Tim Corpus' masterful piece for strings, ``Breath``, are paced so that a listener’s respiration pattern aligns itself instinctively with the slow and even pulse of the piece. Breath creates a powerful performer/listener symbiosis, a remarkable accomplishment on the part of the composer.

    Steven Gryc Composer

    Tim Corpus’s music is beautifully lyrical, nicely voiced and technically well-realized. In person, he is a pleasure to work with. We very much enjoyed recording his first two string quartets and hope to see more from him in the future.

    Jen Leckie Violinist, Grant Street String Quartet

    I recently had the pleasure of conducting the premiere of First Flight. It is artfully written, fresh, unique, and best of all – a beautiful piece of music! Tim is a major talent with big things in store for his future. It clearly deserves a permanent place in the repertoire of any serious wind ensemble. I can't wait to program it again!

    Stephen Squires Conductor, Chicago College of Performing Arts Wind Ensemble

    I have worked with Tim Corpus as a performer, composer and teacher. He brings passion and energy to his craft. He is a young lion who is making his mark on the Chicago music scene.

    Kevin Miller Retired Band Director, Schaumburg High School

    I've had the pleasure of knowing Tim for years now, and I learned very quickly that his passion and talent as a performer and composer are unquestioned. Everything he does is handled with a rare combination of intensity and care, and his works display such attributes. His lyricism in particular, along with his rich, beautiful harmonies and intricate polyphony set him apart from many of his colleagues. In a world littered with simple, non-intellectual music, Tim is breaking through and creating a new, exciting, accessible, and, most importantly, intelligent style of music that is imperative to the future of our art form.

    Matt Bronstein Axiom Brass Quintet

    Breath is very professionally produced, and the overall impression is of a lyrical and rhapsodic voice. I think Breath is a great starter, very ample and serene, even ecstatic. The second quartet is lively and engaging throughout.

    Dr. Robert Carl Composer
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