Troubles Writing a Cadenza

Hello,
I’ve written a cadenza in Dorico 4 for a violin concerto I’m writing. I have it set up as a measure with added beats (I believe I have a hidden 64/4 time signature or similar). However, when I write notes shorter than an eighth note and it goes to the next line, it crosses the line in an awkward way. Is there a way to create custom line indents, or is there a better way to write an unmetered cadenza? Thanks!


Here’s a picture where I’ve circled some examples.

Welcome to the forum. I’m not sure what you mean by indents or how specifically it is awkward - are you able to share a picture of what you mean, or the project itself? It sounds to me like a beaming issue, but i’m not sure…

Oh I see - i would use an explicit system break (go into Layout Mode, select the first note of the triplet for e.g and press create system break)

Also, use an open meter for this section. No need for 64/4.

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I’m guessing you actually mean “Engrave” mode :slight_smile:

I tried to do that before, but couldn’t seem to find it. Where can I find it?

When I do this, it tries to do a system break starting at the beginning of the measure. I can’t seem to get it to let me do a break within the cadenza measure.

Allowing/Disallowing breaks within bars (steinberg.help)

Either delete the time signature or enter X as the time signature.

Here is what you can enter into the time signatures popover for different types of time signatures, including open either with or without a symbol.

@Dommus: OT, but… are you sure about that e sharp?

Thanks, this fixed the spacing for me automatically!

I suppose I could have used an f flat, but I ultimately decided it would be easier for a violinist to read e sharp.

Whoops ah yes

No. It would F natural. And that would be much easier for a violinist to read (It’s a simple dim7 arpeggio figure)

Time for another theory throwdown? I think E sharp is perfectly reasonable here, and for the most part it exposes the interval as a third, whereas an F natural would look like a 2nd more often - I think E sharp is marginally easier to read here. However, what I think you are referring to (correctly) is the dissonance with the key signature and surrounding tonality, which is a few sharps short of justifying the E…

ok, who can guess the concerto?
Violin concerto in A Major…

Key is A major. So F-natural is preferred. Harmonically the F-nat pulls down to E while the G# heads up to A. E# would only be appropriate if we were heading into F# minor. Remember, to a violinist E# is sharper than F-natural.

Yes sorry, my mind is in the gutter today. I chose G#dim7 of Fdim7 because G# is the leading tone, and I went to tonic directly afterwards. Also because (to me) e sharp is more visually appealing, and since there are already sharps throughout the cadenza. Plus, it allows me to use e naturals in the A Major arpeggio soon after rather than f sharps in the scale (which doesn’t make any real difference either, I just think it looks better).

I guess there’s no right or wrong chord to use, though. I just prefer this one!

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