Bar count and pickup bar

I’m working on a tune in 3/4 with a pickup bar of 6 8th notes. Although I defined the pick up bar as a pickup bar Dorico counts it as bar 1 in the bar count. I supose the reason could be that the pickup bar is not an incomplete bar but a full bar in the measure of the tune. How can I get Dorico to not count the pickup bar as bar one but start to count the first “real” bar after the pickup as bar 1?

A pickup is only ever a partial bar. Your 6 8ths makes a complete bar, so Dorico numbers it as one.

Put a bar number change in your 2nd bar (Edit>Notations>Bar Numbers>Add Bar Number change)

thanks for the hint with the number change!
I know about the DOrico definition that a pickup bar is alwasy incomplete, however the composer of the tune I’m working on composed a pickup bar with a 6 8th notes run and than the form of the tune begins, so the composer seems to not have known the Dorico definition;-)

You could also do a bar number change to 0 for the first bar.

But it is not necessary or standard to number the second full bar “1” even when it is the first bar of the section or phrase. The numbers don’t matter to phrases; they are just there to count the physical bars.

thanks, the bar number change did the trick. I’m working/playing with the composer of the tune. So I just don’t want to have a different bar numering to avoid misunderstanding (dialogs like :“lets play again from bar 9”. “Do You mean 9 or 8?”…:slight_smile:

This brings me to the question of the definition of an upbeat.
If you ask a German for an example of an upbeat, you might get this:

If you ask a French for an example of an upbeat, you might get this:

and if you ask a Viennese person for an example of an upbeat, you might get this:

Can someone please help me identify the last example?
[edit: solved by johnkprice]

According to my copy of A Dictionary of Musical Themes, your last example is the second theme of Du Und Du, Waltz No. 1 from Die Fledermaus, Op. 367 by Johann Strauss, Jr. The first D in your example should be a D#, and the second should be a D natural.


Super, thank you John, I racked my brains the whole afternoon…
I will edit the above post and correct the d# (at least I got the key right from memory).

ISTR it in G rather than C. But maybe that’s a suite version …

You are correct that in the Overture from Die Fledermaus, the theme is in the key of G.

This is the piano version by the composer (will have to look up an orchestra version):

[edit] and here the (original) orchestral version in G Major:

From the archives of the New York Philharmonic, here is the relevant portion of the orchestra version of Du Und Du:

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Thanks johnkprice for the insight, there seems to be a stand-alone version of this waltz in C and the section in the Fledermaus Ouverture where the key is in G.
You might be interested to have a peek into Strauss’s handwriting (this is from the manuscript:


Thinking about Strauss waltzes reminds me of the part of the Tom and Jerry cartoon Johann Mouse in which Tom learns to play The Blue Danube like a virtuoso in six easy lessons: