![]() And I can see your furrowed brows as you’re wondering whether I’ve written up a whole Scoring Notes post about a workaround that’s no longer useful except for bad jokes. I suppose most of you are not inclined to fool your players. I could just type 13/16,10 but then I would have to adjust the beaming manually because the internal beaming scheme of a 13/16 bar is obviously different from a 5/8 bar.Ah well. This can be fixed.Ĭome to think of it… In the pop-over, specifies the beam grouping for the first bar. Yes, I know about the bar rest in the first bar. Create the real time signature in the following bar and hide it via the properties panel.Īlthough the procedure is now obsolete in this context, allow me to cite Hans Leo Hassler once again to illustrate what I mean: This is how I used to do this.Create the time signature you want to see in your score – with an anacrusis that is as long as the bar where it appears.I’m very fond of it and I call it the pick-up trick. In fact you can dress up any time signature as any other time signature with a neat little trick. You can make 4/4 look like 2/2, or indeed 5/8 like 13/16 if you really feel like fooling your players. Mind you, with a bit of cheating it’s always been possible to make a 4/2 time signature show up with the alla breve symbol. Sadly, for me this means mostly farewell to my favorite workaround (yes indeed, I am a long time Finale user). This is a welcome addition for editors of early music. The time signature will then be drawn with the alla breve symbol. Now you can activate it for every time signature with a half note denominator. ![]() One of them is the Common/Cut common property that was previously only available for 4/4 and 2/2. The dust of last week’s earthquake (DRRRRRRUMMMMS! CUES!) is settling and I find my dazzled and happy self looking around and noticing a number of less conspicuous improvements in Dorico 1.2.
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