Dotted half triplet notation
Moderators: Peter Thomsen, miker
I've forgotten how to do this. I'm notating a piece in 4/4 and one voice has repeated 8th note triplets which I'd like to notate as dotted half notes with a line articulation through the stem. How do I produce this tuplet? The longest dotted value allowed in the tuplet creation window is a dotted quarter.
Vaughan
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- Peter Thomsen
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I would define the tuplet as
3 Quarters in the space of 2 Quarters.
3 Quarters in the space of 2 Quarters.
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- TupletDefinition.jpg (92.02 KiB) Viewed 8996 times
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- Tremolo.gif (1.23 KiB) Viewed 8996 times
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Thanks, Peter. Of course I don't need to define dotted half notes to be able to get them. Silly me!
Vaughan
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Interestingly, I can't copy these, though. The half notes plus articulations get copied but they are changed to regular-length half notes, losing the tuplet definition and, therefore, the dots. Not a big problem, but strange, nevertheless.
Vaughan
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- Peter Thomsen
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To copy the tremolos unchanged, use Stack Selection.
In a 1-staff document you “automatically” get Stack Selection.
To get Stack Selection in a multi-staff document, create a Staff Set of only the staff you need to copy.
Then, while viewing that Staff Set, you “automatically” get Stack Selection.
In a 1-staff document you “automatically” get Stack Selection.
To get Stack Selection in a multi-staff document, create a Staff Set of only the staff you need to copy.
Then, while viewing that Staff Set, you “automatically” get Stack Selection.
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It would be more adequate to have the number 6 (the number of played eights) over the dotted half notes. You could use '6 eights in the space of 4 eights' in the tuplet tool.
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- motet
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It's more usual to write four slashed dotted quarter notes (I'm glad we're not arguing about the dot!), but if there are many measures in a row you could maybe switch to dotted halves after a couple of measures and leave out the numbers.
I'm arranging a [really fun] Salieri opera for small wind ensemble and this is the way he notates it. That's not necessarily a reason do follow 225 year-old notational practices blindly, but I think it's a perfectly clear way of expressing what's to happen. He does notate the first half bar as a string of eighth triplets (and without numbers: that's totally obvious). As far as the dot is concerned, no argument from me. I remember a heated discussion about this on the old forum but I've forgotten the argument not to use it. I also wonder how old this notational practice is... certainly a lot older than Salieri.
Vaughan
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- N Grossingink
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The Patterson "Mass Copy" will copy tuplet definitions. Maybe no faster than other methods, but since you have the Pattersons I thought I'd mention it. I use it a lot to copy small adjustments to tuplet number/bracket positioning from one place to another.Vaughan wrote:Interestingly, I can't copy these, though. The half notes plus articulations get copied but they are changed to regular-length half notes, losing the tuplet definition and, therefore, the dots. Not a big problem, but strange, nevertheless.
N.
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Hi Vaughan!Vaughan wrote:I'm arranging a [really fun] Salieri opera for small wind ensemble
Can you tell which opera and for which instruments do you make this arrangement?
Peter
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- MikeHalloran
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In 4/4 time, yes.SMS wrote:At the risk of changing the focus, that notation (dotted half with a slash) means to play 6 eighth note triplets? I've never seen that...
That's the normal practice.motet wrote:I think both a 3 and a 6 would be confusing, so without numbers does seem best.Vaughan wrote:...and without numbers...
Mike Halloran
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It's a pretty hilarious opera based on a story by the incredibly prolific and imaginative writer Goldoni. The name of the opera is Il mondo alla rovescia (The world reversed) and is about a land where women are in power and the men are subservient. This land is run by two competing women called La Generala and La Colonella, funny in itself as those two titels usually don't appear in the feminine form in Italian. Perhaps funniest of all: the part of La Generala is sung by a baritone, i.e. a man in drag. I'm arranging it for flute, oboe, clarinet, bassoon, double bass and piano. This work hasn't ever been published and I bought scans of Salieri's manuscript from the Vienna National Library and am arranging it directly from this MS. It's very interesting to see what Salieri changed and deleted, as well as how he occasionally struggled with things like voice-leading and the distribution of voices.Peter S. wrote:Hi Vaughan!Vaughan wrote:I'm arranging a [really fun] Salieri opera for small wind ensemble
Can you tell which opera and for which instruments do you make this arrangement?
Peter
Vaughan
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