On 2019-09-06 16:12, Chuck Israels wrote:
As experienced as I am with Finale, I’ve never tried this — 12/8 on some staves and 4/4 on others with the dotted quarter and quarter being equal. I’m writing some things for classical string players and classical guitarists, and getting anticipations played correctly requires triple subdivisions of the quarter note. People used to jazz notation interpret eight notes in context, but I can’t expect even really good musicians without that experience to know when the eighths are more or less equal and when they’re swung, so I end up writing music cluttered with triplets. Being able to switch between 12/8 and 4/4 would result in a cleaner look. Have any of you done this? Is it practical?
Assuming you mean the barlines are the same in all parts, then yes, I've done it frequently. My piece "Under the Aurora" for clarinet and string quartet uses places of simultaneous 7/8, 6/8, 5/8 and 4/4, and "Air" for harp and percussion has areas of 12/8, 13/8, 15/8 and 17/8.
The only caveat for me is that (at least as of Finale 25), hairpins do not always behave correctly (jump around horizontally).
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