[Robert Patterson:]
>Finale does not directly support non-aligned barlines. However, Staff
>Styles provide a fairly simple workaround, as long as the two staves
>have a reasonable lowest common denominator where the barlines coincide.
If I want to do this, such coincidence of bar-lines will almost certainly
be frequent (either every bar in the longer of the types of bars, or every two
or three bars otherwise), so I don't expect this to cause undue problems.
I do remember many years ago fiddling around with an idea in 4/4 time where
one staff in a piano piece had the bar-lines separated from the other by two
beats, so they never coincided. It was little more than doodling, but I suppose
you could just do that in 2/4 and hide the appropriate bar-lines.
>The only time you'll be reduced to graphically placing them is if the
>barlines never (or rarely) coincide. Eg.: 2/4 at quarter = 71 vs. 2/4 at
>quarter = 64.
No, I don't do things like that. I imagine that it would almost require a
computer rather than a human being to perform such music accurately.
>Staff styles will work well for, e.g. 2/4 vs. 4/4 (where
>the quarter is the same). Even 2/4 vs. 3/4 (with the same quarter) is
>managable with staff styles unless it is an extended passage. (For 2/4
>against 3/4, the internal meter would have to be 1/4, and you would use
>a staff style to hide the barlines you didn't want to see.)
This seems okay; if I wanted to do this, instances I used would be unlikely
to exceed this in complexity.
>Finale *does* support different time sigs in different staves, and
>supports them quite well. (I'm speaking of different time sigs with
>coinciding barlines like 12/8 against 4/4.)
This would be the most common way I would combine different metres, and it
occurs reasonably frequently.
So I guess you could also do this with things like 3/4 against 4/4, where
the bar-lines always coincide. I do have a piano piece called "Grübelei" (just
something I play, not something I wrote), which is 5/4 against 3/2 for almost
the entire duration of the piece, although the hands occasionally swap metres;
and using different time signatures is actually the clearest way of notating
this music.
(I didn't name the composer of the piece, because the authorship of it is
problematical: the person who produced it claimed it had been dictated to her
from another realm by Liszt after his death, and she is generally known (by
those who know anything about her) not to have the composing ability to write
such a piece herself - but that's an entirely different story. It's certainly a
very interesting and unusual piece, though, and if I just went by its style I
could believe it to originate from Liszt.)
But I suppose one other situation occurs to me: can you write extended
passages entirely without metre, time signature, or bar-lines - as in some
concerto cadenzas, for example?
Regards,
Michael Edwards.
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