[Robert Patterson wrote:]
>I don't agree it is "very complicated". You can achieve the result you
> want
>(mid-measure keys/timesigs) using a few extra steps. The result is
> robust
>and works exactly as you would wish it to, including playback.
>
>Finale does permit e.g. 3/8 in RH and 9/16 in LH, where the barlines
> line
>up. (I don't understand what you mean by 9/19 meter.)
Did I type "9/19"? It was a typo; I meant 9/16.
>It will even playback
>correctly. Check out Independent Time Signature in the staff dialog
> box.
>Where Finale truly presents "very complicated" challenges is if you
> want
>different meters with different barlines in different staves. (Think
>Charles Ives for example.) Then there really is a great deal of tedium
> to
>accomplish it.
Well, so far I don't think I need that (although I do recall years
ago trying to write a piece in 4/4, but the two hands had permanently
staggered bar-lines - and it made sense in terms of the rhythm I was
using).
But I have seen scores where some instruments are playing a fast,
repeated figure in 3/8 time and other instruments are playing a slower
theme in 4/4 time, and the barring is separate in these two sections, so
that four 3/8 bars fit into one 4/4 bar - or similar. And it wasn't
anything like Ives - I forget what, but it was a romantic, tonal
symphony or something. And I have seen in Edgar Bainton's "Concerto
Fantasia" a section where part of the orchestra is playing in 3/2 and
another part in 4/4, with crotchets exactly the same in both, so that
the bar-lines coincide sometimes, and don't at other times. Again, that
is a romantic piece - nothing avant-garde.
It is conceivable I could want to do things of that sort one day.
I'll try looking at the thing you suggest, so thanks for that.
But I am currently doing a piano piece where 4/8 and 12/16 play a
roughly equal role, although one or the other may predominate at
different times, and both may appear simultaneously at other times. I
want to use each time signature strictly where it applies so as to make
this dual aspect of the rhythm perfectly plain. I've already found out
how to have 4/8 in one hand and 12/16 in the other (it plays back
correctly, too, but mangles up if I try to copy and paste such passages
anywhere); but I haven't yet found out how to make some of the key
signature changes half-way through the bar, as is already required a
couple of times; and there are one or two passages where both time
signatures appear in one hand. I am suspecting that, if the last is
possible, it will take some serious fakery.
Would it work if I temporarily created three staves, so that two
of them, for instance, can be assigned to the right hand, with the two
different time signatures, and then, once I've filled in all the notes
and other markings, I can put one exactly on the other, so that it looks
like one staff - and I could then use a bit of graphic fiddling to hide
the actual time signatures (which would be literally on top of each
other once I superimposed the staves), and then put in a new graphic
composite time signature for display and printing?
To that end, can anyone please tell me how to create a temporary
extra staff? I searched and searched in the help files on line and the
2009 manual for this, but couldn't find it - only a method for adding an
extra staff for the whole piece, with bar-lines that don't join those in
the two main staves, which I don't think is what I want - it seemed
intended for adding a new instrument to the ensemble. Or do I have to
do that, then remove the extra staff somehow from most systems that
don't need it, and find a way of joining the bar-lines?
Thank you.
Michael Edwards.
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