Is there some way to stop a triplet from reverting to duplets if one removes the downbeat note (for inclusion in another voice or instrument)?
And is there a way of converting, for example, a series of eighth-notes under a quarter-note triplet umbrella to two eighth-note triplets (and back)? Also a dotted (quasi-siciliana) triplet wants to change post-factum into that monstrosity of quarter-tied-to-eighth/eighth/quarter after any kind of edit, and won’t revert back to the more sensible style
Failing solutions to these, are there current best practices for entering new notes which need to be various kinds of triplets without interrupting the flow of (MIDI, step-entry) composition too much? (Something hopefully simpler that suddenly changing from–say–2/4 to 3/4 at one-and-a-half-times-the-tempo and then whisking into 6/8 for the occasional quasi-hemiola-type motion, and then back again?)
the procedure outlined here–
Re: How to remove triplet and fix other notes compensating i
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Post by Daniel at Steinberg » Sat Nov 26, 2016 8:06 am
This should be easy to sort out. First, make sure Insert mode is on (hit I, and make sure the caret with the chevrons is lit up in the note input
toolbox on the left-hand side of the window). Next, select the tuplet number and delete it: this will make those eighths unscaled, regular eighth
notes. To fix up the dotted eighths, simply select each of the dotted eighths and hit the . (dot or period) key to undot them. Then disengage insert
mode (hit I again).
–hints at explorations I might make, but if anyone has gone here before me . . . ? Thanks for whatever anyone can supply.
(Likely unnecessary background, which might explain odd questions you’ll get from me here in the next little while: I’m currently doing a little project as preparation for a big, definitely vanity project in which I want to compose and orchestrate a sinfonietta a week throughout the whole of 2018. I don’t depend on composition for my income, not do I have live performances lined up for any of these. I just want to compose, in my obsessed, facile, amateur way. The test sinfonietta I sketched out the other evening has a movement in which there’s quite a lot of alteration between straight 2/4 and triplets, and since I’ve used step-time MIDI input there are sometimes fairly hefty chords that need selection, copying and pasting from if I’m to make a useable score with the desired efficiency. I’ve orchestrated a few dozen preexisting guitar pieces over the last few months, and know that, barring technical bottlenecks, my big project ought to be feasible; therefore I’d like to identify and work around those bottlenecks that I discover.)j