How do I enter “c3/2” in the time signature?
How do I enter a “C” in the marked spot?
Drawing a blank: what does the “c” in “c3/2” indicate, please?
No, you have to fake it. It can be done by having a pickup bar of C that’s only an eighth or less; followed by the 3/2, and then you squish them together in Note Spacing. (And then reset the bar number.)
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It’s a common 17th-century metre, derived from earlier mensural symbols. It usually suggests 3/2 as a proportion of C; and is often used in pieces which switch between duple and triple-time sections.
What should I do?
I can’t use 7. How can I fix this?
@benwiggy is showing a solution with two bars and horizontal spacing adjustment. It’s probably the easiest way.
What I do here allows you to avoid spacing changes and fake bar, since I create a real time signature — but it’s a bit more complicated.
And you need to make sure that you don’t need the 7 elsewhere in this project!
Thanks.
Interesting. What genre of music uses this? So, basically, it allows either meter to occur whenever the composer wants it during the composition without writing a meter change? In the huge number of Baroque scores that I studied for my performance degree in organ, I don’t recall ever seeing that. I seem to recall works that changed between such meters periodically but never that type of compound time signature. For example, J.S. Bach would have a piece in 4/4 (aka C time) and one would find occasional measures with six quarters in them but there was never a compound time signature. Fascinating. I suppose the use of notation software has required these types of time signatures to achieve what hand scoring could do without a second thought.
No: it means that the C 3/2 is a triple time metre in some kind of proportional relationship to the C metre that follows. Traditionally, it would be sesquialtera, though by the mid 17th century, that relationship was “a bit more fluid”.
For instance, Sweelinck’s Hodie Christus natus est alternates between C 3/2 metres and C metres.
Interesting. I do not recall seeing that in early manuscripts. So the relationship, for example, might be that a quarter duration in 3/2 is the same duration in common time (or vice versa), then?
This old brain needs to ponder on these a bit. No judgement, just need some new neuronal pathways in the old noggin. 
I appreciate your kindness in sharing these examples. They are certainly outside of what we were exposed to so many years ago at the University of Kentucky College of Fine Arts…and it’s good to learn new things even if later in life.
Wow: very virtuosic and interesting method! Thank you @charles_piano!
Yes, I agree. That actually gave me an idea for the fractional time signatures I need, but I’m already using almost all the available notation options. Is there a way to create custom numerals that can be used for new time signatures? Thanks, @charles_piano
I don’t think so, unfortunately… AFAIK you can only use the ten symbols from 0 to 9, so you’ll have to modify one of them (i.e. for the whole project) if you want to use your symbol in a “real” time signature.
Since the popover syntax works with numbers, I don’t really see how one could tell Dorico to trigger a different (new) symbol — setting aside c and cutc, which are very particular cases.
Otherwise, there’s always the option of entering text instead — but I prefer to avoid that whenever it’s possible!
Thanks @charles_piano
I kind of suspected as much. But your tip is very interesting. Until Dorico can eventually handle fractional key signatures.
FTFY.