I have a dotted-eighth note that starts on the and-of-1 (Flow 2, p 10, m9, the B in the up-stem voice). I’ve used ‘force duration’ in those instances, but for some reason it refuses to work for this note. Keeps giving me an eighth-tied-to-sixteenth.
In the same bar, Ligeti notates the last G as a dotted-eighth note also, with the duration carrying over the barline. Very unusual notation, but can Dorico reproduce it?
In bars 7 and 8, the series of accented triplets, the first and last accent ended up way high off the stem. Any idea why? I can drag them into place, but they snap right back.
And a note about flow 1: Dorico’s powerful handling of free meter and multiple voices really shine in this piece. I was very happy with how, after some trial and error, easy it was to reproduce the very idiosyncratic notation, like having a dotted-quarter, quarter and half notes all sharing a stem. ligeti.dorico.zip (447 KB)
You are using actual dotted barlines so therefore, the dotted 8th has to be separated. However, you could use aggregate time signature of 1/4+1/4+1/4 and hide them> those will put dotted separators that look like dotted bar numbers, but are not actual measure lines, so the clamp tool will work. Here’s what it looks like on your file ligeti2.zip (423 KB)
I can’t get this to work. What exactly are you typing into the popover to get that time sig? Everything I try still ends up breaking the note.
Is there a similar workaround for the last G, which crosses a ‘real’ barline?
Stephen - thanks. This has been an incredible learning experience for me, and I have a newfound appreciation for the things Dorico can do. I cannot imagine doing that first etude in Sib or Finale.
Sorry, the notation of your Ligeti is so advanced that I though you new about aggregates time signatures. You need to use the pipe symbol. 1/4|1/4|1/4 will give you a measure containing three quarter notes separated by a dotted bar. I’ll ponder on G later tomorrow!
You should be able to fake the dotted G with a hidden 3:1 tuplet of 16 notes (i.e. hide both the number and the bracket), and a hidden rest at the start of the next bar.
This is just a mock-up without the right notes etc:
re.3) it’s apparently because they interact with the slur… I found the easiest way to make them stick in this scenario was to set the articulation placement to note-side in Write mode, then drag them into position in Engrave mode.
Claude - I’ve used aggregate time sigs before, but for some reason I couldn’t get it working last night. But it’s all fine this morning. I hadn’t realized that the dividers are going to be more forgiving than the dashed barlines created manually. Good to know.
Rob - Brilliant. Didn’t think to use the ol’ ‘hidden tuplet’ trick that was so useful in Sibelius.
Fratveno - Yes, good call. That does look like the interaction between the slur and the accent is a little buggy, though. Maybe it’ll be addressed in due course.
