Hi,
in my long career as music teacher and keyboardist I’ve never seen something like this:
The brass section has got 6/4 TS, while the piano still remains in 2/2…
The string section is also in 6/4.
Can I copy it in DP5 Pro?
Hi @Piano_Vink, sure it is possible.
see this post (and the whole thread), for some explanation and the Scoring Notes link:
Here the workflow for this particular case:
- for both piano staves create local 6/4 time signatures (so you can hide them independently). For instructions see the manual, in particular point #6 of the Procedure
- create nested tuplets as in the screenshot (once you create one bar you can copy and paste the tuplets to other bars)
- hide the 4:6 tuplets
- write the notes
Screenshot:
Dorico file:
nested tuplets and independent time signatures.dorico (602.7 KB)
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Hi Christian,
I tried to follow your workflow, but I failed:
Meter is 6/4.
In addition to that I don’t know how to create the 2nd 4:6 tuplet in the same system.
But: thanks to your help so far - great job!!
Peter
Hi @Piano_Vink,
here a short video on how to create the nested tuplets: you create the big tuplet (4:6q) first, as container for the smaller tuplets (3:2q):
Remember that tuplets are containers, and you can copy them selecting the tuplet marking (number or bracket) and paste in other bars.
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Christian,
if you were a woman, I would ask you:
Do you want to marry me?
Thanks a lot
Your
Peter
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Glad to help @Piano_Vink
(For the other… request, we would have to speak about the dowry, first 
)
Hi @Piano_Vink, as you asked in your message, to be able to hide individual Time Signatures, you need to have them as local Time Signatures, as in my previous post:
If you follow the blue link, you will find the instructions in the manual.
here the workflow:
-
select a rest in the upper staff of piano, at the beginning of the section, Shift+M to invoke the popover
-
write 6/4 and, keeping Alt(Option) pressed, confirm the Time Signature with Enter (and, thanks to the Alt key, the TS will be now a local Time Signature for the upper staff in the Piano)
-
You can repeat the procedure for the lower staff of the piano, or just duplicate the created time signature to the staff below (Selecting the upper one > right click > Paste Special > Duplicate to Staff below)
-
Once you have these two local Time Signature, you will be able to hide them (and only them) via the properties panel.
I thought long and hard and came up with this. Tchaikovsky was a mere child compared with J S Bach.:
A case of Bach being too lazy to write all those sextuplets…
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Bach, lazy? 
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Good evening,
I’m afraid that my problem isn’t solved…
I did the workflow Christian described. The result is:
In Tschaikowsky’s score it looks that way:
So in the Dorico version the bar lines are not correctly set. Even the bar numbers are at the wrong position…
Hi @Piano_Vink, let me take a look at the score, I will come back to you…
So, I looked at the score. The last global Time Signature is in bar 108 (C=4/4).
Tchaikovsky only writes the 6/4 from bar 390 for the ww, vns and cellos, then for the viola in bar 408. Timpani and brass never change to 6/4 (you will need also local and hidden 6/4 for them, and use hidden 4:6q tuplet: see below (*).
If you want to replicate this, you would need to make sure that the violas an double basses in your example also have a 6/4 from bar 390, create them as in the piano: local, and then hide them. This would be look as in the original (as the full bar rests look identical between C and 6/4) and the barlines will be aligned 
From bar 408, where the brass comes in (I don’t know if in your score recreation you need the brass?), you need also 6/4 (combined with 4:6q hidden tuplet to be able to notate the half notes as in the original):
(*)I suggest you make the same procedure for the brass and timpani as you did for piano, viola and double bass, but from bar 390 already: put in bar 390 (in the brass), 6/4 time signatures (local and hidden): you can just copy and paste to the brass staves the signposts of the already created 6/4, (local and hidden), so that the global cut C will be replaced with the hidden local 6/4. Then create hidden 4:6q tuplets for brass and timpani, where they have some music to play. Hope is clear enough.
When you deal with such cases (poly-metrics) you have always two possibilities: you need to choose which staves will have the global time signature, and then which staves will have the local time signature, depending on which staff uses the most, and what would need less work. But in this case is more or less 50%-50%.
If something is not clear, please provide the file (it would be much faster to show this workflow to you) and I am sure someone can set this up for you.
Hi Christian,
everything seems to work 
But: In my Tschaikowsky score the last global meter change is in bar 328: there it changes to Alla breve.
Nevertheless: you helped me a lot!!!
Maybe I will come to you tomorrow
Your
Peter
There are 3 version A B & C of the score for this concerto, and I chose the “wrong” one, opps. I think your is the best (revised ?) version. Anyway, it doesn’t change the basic workflow
Here the comparison:
Version A:
Version C:
As many children as he had, I’m not sure “lazy” and “sex” can be used in the same sentence with regard to Bach
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