Next how do I write this ? time signature C

[Christian_R]

@johnkprice

Instead, put that dotted quarter in a hidden 3:3e tuplet with the Spans barline property activated

This is wonderful! Thank you @johnkprice

Now I understand also better other advantages and the concept of “tuplet span over barlines”! Thanks

[YourMusic.Pro]

@johnkprice

a hidden 3:3e tuplet with the Spans barline property activated:

I’ll be darned!

[benwiggy]

In the 18th century, it was common to put the dot on the “other” side of the barline – which I’d argue is more readable and less confusing than this, though I can’t really see any advantage of this over a ‘normal’ tied note.

[StevenJones01]

Also with double-dotted notes.

[judddanby]

@benwiggy

In the 18th century, it was common to put the dot on the “other” side of the barline

So now I’m grateful for indoor plumbing and dots that stay next to notes.

[ObiwanKenobi]

@benwiggy

In the 18th century, it was common to put the dot on the “other” side of the barline

Exact.
Perhaps there is a novel to be written, in the style of Dickens, about the wanderings of the rhythmic point in music…

[ObiwanKenobi]

Very brilliant, John.
I’m awarding you the gold medal, unanimously, by myself.

[PjotrB]

I happened to do this just yesterday (a hemiola in 3/8, Couperin):

Method: I created a new notehead using ‘textAugmentationDot’, (U+E1FC, a bit hard to find in the SMuFL section ‘Beamed groups of notes’), and applied it to a 16th/semiquaver on the first beat with its stem unbeamed and hidden (somewhere else I also had to hide the ledger lines).
I ignored playback repair, BTW, but I guess it would have been possible.