Cliff,
I think that David's response is a good work around. In addition I would like
to mention that I have had succes combining both approaches, even though it
takes a lot of time. Basically, I created a score that was easy to read and
reads the way I want the music to be interpreted. I gave that score to the
members of the ensemble. However, I also made a score that played back the
way I wanted and gave the ensemble an mp3 of the Finale playback.
all the best,
Bruce Eisenbeil
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Subject: Finale Digest, Vol 115, Issue 3
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Today's Topics:
1. Different meters in different systems (Clif Ashcraft)
2. Re: Different meters in different systems (David H. Bailey)
----------------------------------------------------------------------
Message: 1
Date: Sat, 2 Feb 2013 13:27:17 -0500
From: Clif Ashcraft <wa2...@optonline.net>
Subject: [Finale] Different meters in different systems
To: <finale@shsu.edu>
Message-ID: <6913ee50-c4cf-4fcf-90f8-b4e11b389...@optonline.net>
Content-Type: text/plain; charset="us-ascii"
I just had one devil of a time getting Benjamin Britten's "Festival Te Deum"
into Finale 2012. My purpose was getting the music into a rehearsal CD for my
choir, so playback, not appearance was the first order of business. The piece
is difficult because the organ accompaniment, in a large part of the piece,
grinds along in 3/4 time playing an ornament followed by a big chord with a
slight pause after the chord. Each organ event adds up to the time it takes to
play three quarter notes. The choral part, on the other hand, is written with
a
very irregular set of time signatures, 5/8, 7/8, 4/4, 3/8, 2/4, and even an
occasional 3/4. The published music has all the bar lines lining up, but of
course, as actually played they rarely do line up.
I tried a couple of schemes to get different time signatures to apply for the
accompaniment, and some of them looked ok. None of them played ok. My final
recourse was to leave the irregular time signatures for the choir parts in
place
for all of the systems and create a 3/4 time organ gracenote/chord/pause for
the
first event, which I just drag copied over and over again, changing the notes
after the drag to match what Britten had written. It looked awful, but played
just fine. Occasionally the 3/4 measures containing the chords would line up
with the choir parts, but not very often.
Does anyone know how to convince Finale to show a different time signature for
different parts and still have it play correctly? Note that it HAS to play
correctly, appearance is secondary except that it simplifies entering the
notes,
ie, I would have liked very much to have just keyed in the chords as dotted
half
notes with a playable articulation for the pause rather than the kludgy drag
copy procedure I had to use which resulted in chords being tied over bar lines
with strange combinations of half note tied to quarter notes, eighth notes tied
to dotted quarter tied to quarter in the next measure, etc.
Clif Ashcraft
------------------------------
Message: 2
Date: Sat, 2 Feb 2013 17:27:22 -0500
From: "David H. Bailey" <dhbai...@davidbaileymusicstudio.com>
Subject: Re: [Finale] Different meters in different systems
To: <finale@shsu.edu>
Message-ID: <510d92ca.5090...@davidbaileymusicstudio.com>
Content-Type: text/plain; charset="ISO-8859-1"; format=flowed
On 2/2/2013 1:27 PM, Clif Ashcraft wrote:
> I just had one devil of a time getting Benjamin Britten's "Festival Te Deum"
into Finale 2012. My purpose was getting the music into a rehearsal CD for my
choir, so playback, not appearance was the first order of business. The piece
is difficult because the organ accompaniment, in a large part of the piece,
grinds along in 3/4 time playing an ornament followed by a big chord with a
slight pause after the chord. Each organ event adds up to the time it takes to
play three quarter notes. The choral part, on the other hand, is written with
a
very irregular set of time signatures, 5/8, 7/8, 4/4, 3/8, 2/4, and even an
occasional 3/4. The published music has all the bar lines lining up, but of
course, as actually played they rarely do line up.
>
> I tried a couple of schemes to get different time signatures to apply for the
accompaniment, and some of them looked ok. None of them played ok. My final
recourse was to leave the irregular time signatures for the choir parts in
place
for all of the systems and create a 3/4 time organ gracenote/chord/pause for
the
first event, which I just drag copied over and over again, changing the notes
after the drag to match what Britten had written. It looked awful, but played
just fine. Occasionally the 3/4 measures containing the chords would line up
with the choir parts, but not very often.
>
> Does anyone know how to convince Finale to show a different time signature
> for
different parts and still have it play correctly? Note that it HAS to play
correctly, appearance is secondary except that it simplifies entering the
notes,
ie, I would have liked very much to have just keyed in the chords as dotted
half
notes with a playable articulation for the pause rather than the kludgy drag
copy procedure I had to use which resulted in chords being tied over bar lines
with strange combinations of half note tied to quarter notes, eighth notes tied
to dotted quarter tied to quarter in the next measure, etc.
>
This has been a long-standing complaint about Finale (and Sibelius)
while you can have independent time signatures in different staves, the
barlines always line up and each measure in the different staves
occupies the same time, so a 3/4 measure in one staff takes the same
amount of time as a 4/4 measure in the same place on a different staff.
The workaround is to figure out the largest common denominator for all
the different time signatures to figure out where they overlap and then
set that as the time signature for all staves and put in the differing
time signatures and barlines as graphics.
So if you've got 3/4 in some staves and 4/4 in other staves, you set the
time signature to be 12/4 and then all the beats will line up. With
more widely divergent meters the measures get larger and larger. For
some it's nearly impossible to do what you want.
Since appearance isn't important you can enter the easiest staves first
and then simply do the mental math to calculate ties and rhythms to get
the notes to line up properly.
--
David H. Bailey
dhbai...@davidbaileymusicstudio.com
------------------------------
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