That is rather disappointing and quite surprising to me, that
these things can be accomplished only with a lot of very complicated
fiddling around. I need to do all those three things moderately often
in the music I compose.
Key signature changes inside a bar are surely common enough that
they should be a standard feature of a program like Finale. Perhaps one
day they will add it. Repeat signs inside bars are just as common, too.
Time signature changes inside bars aren't, I suppose - but the
Beethoven example I gave was not just a sloppy practice of a composer
notorious for his untidy manuscripts, but entirely, completely logical
in the context. The 12/16 and 6/8 sections both start and finish with
half-bars, and so the parts of the bars match up exactly.
So I suppose if I ask whether it is possible to have two different
time signatures in the same staff (such as 3/8 and 9/19 which can be
found together in the left hand near the end of Scriabin's 10 Piano
Sonata), I'm going to be told it's completely impossible, even in
Finale, am I?
[SN jef chippewa wrote:]
>not really "mid-bar" change, more like butt-splicing different pieces
>together, each with anacrusis and final "incomplete" measure. but
>yeah achieved in the same multi-step tasks in finale.
I don't think I agree that it's not really mid-bar. If you look
at the passage, the half-bar before a change from 12/16 to 6/8 contains
six semiquavers, grouped into two groups of three, and the half-bar
after the change contains six semiquavers, grouped into three groups of
two. It all adds up and I can think of no better way of notating that
change. (The tempo changes, but I don't think that damages the logic of
the situation.)
>thanks for the reminder that i haven't listened to this piece in
> awhile :P
I first heard this sonata (no. 31 in Ab major, Op. 110) along with
its predecessor, no. 30 in E major, Op. 109, as a child, on an L.P.
played by Iso Elinson back around 1965, and it was like a window into a
new world. I was obsessed with Beethoven, and this record was one of
the earliest ones I got. I think the general style of notation I use
was probably modelled on the Schirmer edition of the complete sonatas I
got as a child, although I've done certain things differently to
accommodate more modern musical styles than Beethoven used.
Michael Edwards.
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