Assuming you don’t need playback to function correctly, I think I’d use two hidden tuplets: a 3:1 for the dotted quarter and a 36:12 (or another 3:1, I guess) for all the little notes. You could do it with a whole bunch of grace notes but the spacing would be a pain.
And actually, if you needed playback then I guess a couple of hidden metronome marks would do that job reasonably well!
edit: come to think of it that amounts to a single 3:1 tuplet, doesn’t it…
And of course the fermati would be set as text or as playing techniques.
No, the fermata in the vocal line would be dragged in Engrave mode. No need for text or playing techniques.
It’s going to be hard to get the top soprano note to coincide with the quarter note rest in the middle of the bar of the other instruments, although one could ask how important that is. I’d be tempted to make the first soprano note an undotted quarter, the first set of small notes as grace notes and the last three sets of 8 32nd notes as a triplet of regular notes resized. I’ll try it and post it if I can get it to work.
Well-nigh impossible without some wizardry. If you have the ability to modify it, much preferred.
You could add an additional voice, place a dotted quarter at the downbeat, and set voice column index to 0 to place it “behind” the quarter. Ohh… ahh…
I can’t exactly open this on my phone, but doesn’t this mess up the appearance of the rests? I avoided suggesting it for that reason.
Ok. Use three hidden tuplets. The first and second take up the first half of the bar, and the third takes up the second half of the bar. Playback won’t work correctly but all the rests should line up fine.
And if you must have decent playback, draw with the pencil tool on the time track to your heart’s content…
Some judiciously placed rests using force duration and then hiding the ones you don’t want gets them exactly where you want them.
The potential problem with dbudde’s method is that we don’t know what else is going on in the ensemble. If other people are playing even a held note, playback’s not going to work without some hidden notes.
This is true, but every “Candeza” I’ve ever seen is a solo.
Nielsen Flute Concerto is the first one that comes to mind. Page 153 (the 27th page of this PDF) http://hz.imslp.info/files/imglnks/usimg/f/ff/IMSLP296241-PMLP480347-CNU_II_09_flojtekoncert.pdf
Except for the Timpani roll, this looks like a solo to me. Timpani roll would be easy to deal with using open meter.
Plenty of small cadenzas that aren’t solo — Rimsky-Korsakov’s Scheherazade for instance.
Just took a cursory look at this and didn’t see anything that would present any difficulty using open meter to deal with. If you have a specific example in mind, please point it out. All of the “solos” that had accompaniment of any significance seems to be in well defined meter and tempo.
The actual cadenzas were in open meter and had ample use of fermata or specific timing where that accompaniment occurs (e.g., a big chord at the start of the cadenza, or where the accompaniment was holding a note or a trill or a tremolo). None of these would be difficult to deal with using open meter in Dorico.
I should try it again using open meter. My attempt below was done by changing the bar to 3/4 and hiding the last quarter rest in all the other voices. The first set of small notes were grace notes and the rest were two 8th triplets, rebeamed and resized. There was considerable manual spacing required in Engrave Mode. Fortunately all the other voices only play the first eighth note.
I did end up changing the first soprano note to an undotted quarter.
You can use a hidden tuplet to keep the dotted quarter…
And keep the high C in the soprano on the second quarter of the other parts? I think that’s more important than the dotted quarter.