I don't agree it is "very complicated". You can achieve the result you want (mid-measure keys/timesigs) using a few extra steps. The result is robust and works exactly as you would wish it to, including playback.
Finale does permit e.g. 3/8 in RH and 9/16 in LH, where the barlines line up. (I don't understand what you mean by 9/19 meter.) It will even playback correctly. Check out Independent Time Signature in the staff dialog box. Where Finale truly presents "very complicated" challenges is if you want different meters with different barlines in different staves. (Think Charles Ives for example.) Then there really is a great deal of tedium to accomplish it. On Fri, Aug 18, 2017 at 8:55 PM, Michael Edwards <mjedwa...@foxall.com.au> wrote: > 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. > > > _______________________________________________ > Finale mailing list > Finale@shsu.edu > https://lists.shsu.edu/mailman/listinfo/finale > > To unsubscribe from finale send a message to: > finale-unsubscr...@shsu.edu > _______________________________________________ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
