# notation issue

Hello,

What would be the best strategy in order to achieve the following (see picture) ?

The main issue for me is how to deal with the normal size note after the unmeasured group.
knowing that the unmeasured group would be done with hidden tuplets, I’m not sure what value I should give to the normal size note n order to be considered a note that can be tied into the dotted half note in the bar that follows.
Also, what would be the best way to do the tremolo marking ?

Any help would be greatly appreciated !
Thanks

Best
Yan

Is this a solo piece or is there other stuff going on simultaneously?

not solo, the score has many staves…
Yan

I count 27 32nds in the time of 32 (4 groups of 8 in a 3/4 bar). So I would go for a 27:32 tuplet that spans the barline (properties panel). Then adjust the note size.
The slash you could add as a playing technique and adjust in engrave mode.

Thank you Klafkid.
the tuplet is no problem, but the normal note after the group.
I’m not sure what value I should give to the normal size note in order to be considered a note that can be tied into the dotted half note in the bar that follows.

best
Yan

Well, I guess you’ll just have to make a choice. Why not simply a crotchet?

If you hide the stem on a stemmed note, you lose the trem slashes. For this reason, you’ll need to use a whole/semibreve note with a custom black notehead, within a tuplet. The vertical context - where you want the note to fall in conjunction with other rhythms in other instruments - will determine the right section of the tuplet ratio.

Alternatively use a crotchet/quarter and build the trem strokes as a custom playing technique - your call!

I considered it a normal quarter note. why would it be a problem? (Iwould need to check with the rhythmic position of the other instruments)
You could hide the stem in engrave mode, or would that remove the tremolo too?

If so, I would create another tuplet, which would be 4:1q, then use a whole note with tremolo. then change the notehead of the whole note.
To do that, i would create a new noteheadset, with just the filled notehead used for all values (below and above), and apply this noteheadset to the “whole” note inside the second tuplet. Of course hide all tuplet markers.

EDIT: Leo was faster, as always

Oh! Looks like I never actually tried this before…

ok, thanks to you both for your help.
Yan

I really can’t make this work
In Engrave mode, if I change the last note of the beamed group to 68%, then the regular note it is tied to gets downsized also.
I tried the other way around, same problem.

Yan

You’ll need to use separate voices, like so:

!?
well, no choice then, but that’s not fine at all.

I hope the team softens on this note length ideology that creates many unnecessary notational difficulties…

Thanks Pianoleo
Yan

and how do you tie between voices ?
it does not work here…

Yan

Yan, when you want to make a tie between different voices you have to select both notes before hitting “T” or using the icon in the sidebar.

Anders

I gave it a go and it wasn’t too bad. I simply made a notehead set where (since I don’t know how often this notation is used in the piece) I actually included the tremolo to the black whole note notehead, In the same notehead set, just for kicks, and also created the slashed rest, which is actually a note in this case (I had done that testing those kinds of rests in some Takemitsu before). Once that was done it was just a matter of dealing with tuplets and adding a slash. That slash is the only thing I moved in Engrave mode, so it’s pretty sturdy on the whole.

Hello Claude,

Just out of curiosity, how did you create the lines ?
I ended up using a symbol from November font but I wish I could just draw a line in the playing technique editor.

best
Yan

For the rest, I changed a notehead into a rest and added the grace note slash found in “Common ornaments” in Smufl. It’s still a little thick though. Here you can also see the black notehead with the tremolo. This only works well if you have a few instances of such passages, of course; although the crossed rest could be useful throughout a piece.

For the slash through the beams, I used a “notehead-to-notehead” line between the first two notes (C# and D) and moved it in Engrave Mode. I think notehead-to-notehead lines are the only ones you can slant in Engrave Mode, but I could be wrong.

Thanks Claude !