On 25 Mar 2004, at 02:32 PM, Darcy James Argue wrote:
One way might be to change the time signature to 12/8 (but "display as 4/4"), which would (I think) allow you to enter the three notes of the "big tuplet" at the appropriate rhythmic points without having to use tuplets at all.
Wait, no, I wasn't thinking straight. You *do* need tuplets, even in 12/8.
What the guy wants is a big tuplet that begins on beat 4 and 1/3 (in 4/4), goes over the barline and completely fills the subsequent measure. In other words, a tuplet that lasts 4 and 2/3 quarter notes in 4/4, which translates to 14 eighth notes in 12/8.
14 eighth notes divided into 3 equal parts is 4 and 2/3. The first note of the triplet falls on what, for the sake of convenience, I'm going to call "beat 10" of a 12/8 measure. So in 12/8, the first bar would be:
dotted half rest - dotted quarter rest - eighth rest - quarter note tied over to next bar
(It's not necessary to actually make the first bar 12/8, it works out just the same with a quarter-note triplet, but it's easer to figure out if you're thinking of the whole thing in 12/8).
Each triplet note needs to last 4 and 2/3 eighth notes in 12/8. So we have a quarter note from the previous bar, tied to a quarter note in the second bar, tied to the first note of an eighth-sixteenth triplet. The second note begins with the sixteenth triplet, is tied to a half note, and tied again to the first note of a sixteenth-eighth triplet. The eighth triplet is tied to another half note, completing the measure. I just tried it in Finale and it works.
But that's just for accurate playback. Obviously, it would take a lot more tweaking to make it look like one big triplet. But I'm pretty sure it could be done.
Also, I think you might not have to use the 12/8, that nested triplets might have worked just as well. But like I said, I found it easier to work out in 12/8.
- Darcy
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