Dealing With Crescendo In A Split Measure

[robchand58]

In notating a choral / vocal piece from pencil and paper, the arranger has asked for a split measure. The measure splits between beats 2 and 3, no problem there. The arranger wants a crescendo for beats 3-4 (the second half of the split), but when applied, the crescendo appears in BOTH halves of the split measure. Clicking SHOW to hide one side hides both. Any clues?

Finale 2012, BIG Windows Machine, using Bill Duncan Fonts and Templates.

Thanks and Cheers to all.

[zuill]

It sounds like you are using the old fashioned method of splitting a measure. The better way is to create 2 measures to look like one. There's a plugin for that. This should avoid the problem you're having, I believe. Without seeing a file, I might am only guessing, of course.

Zuill

[motet]

What was the old way?

If the crescendo is there before splitting, the plug-in doesn't do the right thing (see below). You need to apply the crescendo after splitting.

[zuill]

The old way was to create a split point in a measure with the measure tool. It was riddled with bugs.

Zuill

[N Grossingink]

You could also try going to Preferences > View and switching to "Display Actual Measure Numbers". There is a bug associated with "Include in measure numbering" which you have to uncheck for the second split measure - that can trigger the bug.

N.

[robchand58]

Thanks to all. Will try these fixes once I return to town.

[Michel R E]

In notating a choral / vocal piece from pencil and paper, the arranger has asked for a split measure.
Thanks and Cheers to all.

It's a perfectly valid (and interesting question) as this does pop up.

However, I have a question: the original arrangement is pencil and paper. The split measure would be a space-saving issue in that context. It seems to me that it doesn't actually add anything to readability of a score. Since Finale can space the music better, might it not be best to just leave whole measures instead of creating a split measure?

[zuill]

Sometimes the text (lyrics) determines these kind of things. If a verse starts in the middle of a bar, it is customary to start a new system, as it facilitates the layout from the poetry standpoint. I can't say for the document this thread is discussing, as we haven't seen it.

Zuill

[Michel R E]

Thank-you Zuill, I hadn't thought of that (I never work with music that has verses/choruses).

[robchand58]

I will post the file tonight. Remember that is was done using a Bill Duncan template and his fonts.

More Problem Info: This was attempted using page view. I do not know if scroll view would have yielded different results. As for splitting the measure. The verse ends mid-measure, and the chorus has pickup words and notes that lead to its first measure. Not the way I would have chosen, but the choral director wanted the pickup words and chorus on the same page.

[N Grossingink]

Remember that is was done using a Bill Duncan template and his fonts.

The latest versions of the Bill Duncan templates were done in Finale 2004, before Mr. Duncan passed away. The ancient file format could cause some problems. I would make a new set of templates using Finale 25. Just open a new 1 stave Finale file, copy over all of the document settings (via a saved library from the Duncan file) and expression, articulation, chord, staff style libraries from the Duncan template. You can use this as a master file - copy it and add staves as necessary to make a set of Duncan templates for different instrumentations.

N.

[robchand58]

File now attached. This is a Finale 2012 file. Thanks to all of you.

[zuill]

In which measure or measures are you trying to do the split?

Zuill

[robchand58]

I need to split in measure 12. Splits after the half note and the eighth rest.

[robchand58]

Attached is a neater version of this work after some changes by the arranger. The problem with the split measure (m.12) still remains. When placing a crescendo in the second half of the split measure, the crescendo appears in BOTH portions of the split measure.

I even tried placing the crescendo in m. 13 and sliding it back into place, but it saw me coming and reverted to its old tricks.

[zuill]

See if this works better. You did things the "old" way (with the measure tool), which has been broken since it was created (during the dinosaur days). The "new" way is to use the split measure plugin. I chose to split after beat 2.5. The plugin automatically sets the measure tool for the second half of the measure (which is now a separate measure) to not be counted in measure numbering.

Zuill

[robchand58]

Zuill - kudos and Bravo!

I would never have fixed this without your help.

On Finale's Mt. Rushmore, you are the farthest monument to the left, watching the others!

Thank you again,

[N Grossingink]

Just a few suggestions:

√ There are ties where there should be slurs. The Smart Shape tool is the "Slur Tool".
√ Dynamics and crescendo wedges are usually placed above the staff on vocal staves. That keeps them out of the way of the lyrics.
√ The piano staves should be connected with a brace ("moustache") not a bracket.

N.

[robchand58]

I am 100% with that. BUT: the arranger is a granular-level, picky sort, who wants it done EXACTLY her way.

Your suggestions were followed on the first version (not attached) and they were moved to where you see them now when she came back with tweaks...

I had also suggested that we move away from the Bill Duncan 'look' towards something that choral groups were more used to seeing, but that was torpedoed also.

Just trying to keep the customer satisfied.

[N Grossingink]

Personally, I'd end any relationship with a client that insisted on such incompetent notational habits.

N.

[zuill]

It might depend on how much the compensation is.

Zuill