[Dennis:]
>I have a piece that ends with a DC al fine, ABA. The last measure of A
>is different the second time. If I use first and second endings for A,
>what kind of barline do I put at the end of the last measure the first
>time? A double thin?
Hallo, Dennis.
I'm not quite sure what rules govern this, but I would consider
not using first- and second-time bars at all, but instead using the
"Coda" system, similarly to what you sometimes see in Beethoven piano
sonatas. He puts an instruction at the end of the Trio section of
Scherzos or Minuets that goes something like "Da capo al segno, e poi la
coda". (I may not have got that quite right, as I'm recalling it from
memory without any reference handy). In your case, the "segno" you
insert would be at the start of the final bar of the A section.
To be sure, the "coda" in the Beethoven examples was a whole short
concluding section, but I don't see why you couldn't use it for a single
bar that is just a different version of the final bar for the "A"
section.
I have a Minuet movement in a sonata that I have yet to put into
Finale, which requires *three* endings - because the "A" section in
binary form with both halves repeated requires two versions of the final
bar, and then there is a 3rd version of that bar for the final "Da capo"
occurrence of the "A" section. I dread the battle I will face when I
finally try to get Finale to do that, because it seems very unorthodox,
and I suppose I will have to use 1st, 2nd, and 3rd endings. But for
just two endings where it's not a conventional repeat, I would very
likely use the "e poi la coda" system.
Michael Edwards.
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