I certainly understand the arguments against it, but in its defense, it shows where the key change really occurs, so technically it's more accurate.Īnyway, this illustrates what I think is great about Finale: it's almost always possible to somehow do what you want (I was able to replicate the Falstaff notation), no matter how bizarre! 1), and if one is hired to put it into Finale, it makes sense to know how. I doubt I would ever write that way, but I am looking at a Prokofieff march (Op 12, No. I admit changing key signatures in mid measure sometimes looks or sounds impractical. GPO 4, Garritan J&BB 3, CoMBand, Stradivari Violin, Gofriller Cello In 40 years, I've never come across this either. ![]() I'm sorry, just because Verdi did it (or his engraver) doesn't mean it's a good idea. It looks like whoever engraved it got mixed up in the number of beats. ![]() Yes, he could have delayed for two beats, but what he wrote makes clear musically what's happening. I can think of an example in Verdi's "Falstaff" where it changes both key (from D major to E major) and meter (from 12/8 to 4/4) in the middle of the bar and it makes perfect sense. It looks a lot nicer and reads better (to me) than putting an accidental on a tied note and not clearly showing a separation of the phrases occuring with a key change. Using Zuill's approach I can also easily split the measure between lines with a double bar and courtesy key change at the end of the line. Then the key changes from F to C and the next phrase starts on the 2nd beat in C. For example, in this case a vocal phrase ends with a whole note tied to a quarter note (in 4/4 time). I thought it was accepted practice to put a key change in the middle of a measure when needed. Intel Core 2 Duo E7400 2.80 GHz, 4 GB of RAM Not to flame you, but in general, "why on earth would you want to do that?" is not helpful. When the performer cannot approach the composer's meaning because of capriciously obscure notation, he may in effect say to the composer: "Why should I bother to puzzle out your music?" - Gardner Read But if he indicates: "I want you to perform and respond to this music," then his fundamental duty is to write his music so that it is accessible to interpretation. If the composer says in effect to the performer: "I do not care whether you perform my music or not," we cannot argue the matter. Full version, Garritan Jazz & Big Band, Garritan Concert and Marching Band, Windows Vista 32-bit SP1, 4GB RAM, Soundblaster Audigy II zs Woodwind specialist and doubler - Finale 2011! using Speedy Entry - no capslock, GPO 2nd ed. and the reason you can't wait half a bar to change the key is? ![]() "When all is said and done, more is said than done."įavorite Forum quote: "Please, everybody, IGNORE THE TROLL!" Readjust your measure numbers to account for the extra bar. ![]() Put the key change in the second bar of the 2.Ĭhoose an invisible barline in the first of the 2 measures. If this would work for you, then:Ĭreate each of the smaller measures to display as the ongoing signature. It takes a workaround where you have 2 smaller measures to show as 1. Surely this is very elementary and I'm just missing something obvious? Searched user manual, knowledge base and forum, but no luck. Tried selecting the notes where the change occurs but key change still appears at the beginning of the measure. Trying to change the key signature within a measure. MakeMusic Forum > Public Forums > Finale - Windows - FORUM HAS MOVED! > Mid-measure key signature?
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