Goede namiddag, kan iemand mij helpen de tuplet in te brengen op de achtste g-noot zoals in het voorbeeld, met dank, Albert Verhoeven
Good afternoon, can someone help me insert the tuplet on the eighth g note as in the example, thanks, Albert Verhoeven
Don’t exit tuplets entry mode, since it’s the same triplet as the others. You can even enter a dotted eighth note on the G — it will give you the eighth tied to the following sixteenth, and you can carry on with sixteenths.
(Don’t pay attention to my shortcut for tuplet entry, it’s a custom one)
To make it clear: I press 4 to have 16th notes, then I press 2 times 5 before the G (dotted 8th), then 4 again.
If there wasn’t the tied note, you could simply enter the G as an eighth note and you would get this:
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I am sorry Charles, the tuplet that I mean is a tuplet on the eight g-note alone
Albert
Do you mean this? Are you sure?
If so I did a nested tuplet:
3:1x, and inside it: 2:3x. Then I hid the “2”.
Thank you very, very much Charles, you’ve been a great help to me!!
I wish you all a great weekend
Albert
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I think you will discover that is an error in the original.
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I’m sorry Charles, a little difficulty came up, when continue to input the rest of the notes I end up with a sixteenth a in stead of an eight a, what am I doin wrong here?
Albert
I agree with Janus, it’s a mistake in the original. The tuplet spans the 16th F and the 8th G, the time signature is likely straight 4/4.
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I am sorry but the example Charles fabricated is exactly the same as the original.
A copy of the original is included
Albert
I’m afraid you do not understand. The original is incorrect. It is a mistake on the part of the engraver.
(Segue into the Monty Python “Dead Parrot” sketch…)
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Oké, thank you very much, wish you a nice weekend
Albert
Yes, it’s quite obvious the triplet must span the 16th F and the 8th G. The bracket is just a tiny bit off.
It is possible you are wright but I tried again and the example Charles send me was correct. Thank you all for your collaboration, Albert
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I acknowledge your solution is ingenious, but don’t you think you are doing the OP a disservice by helping him reproduce what is obviously an engraving error?
Good question!
My first reply was giving the right solution — to be honest, I hadn’t noticed that the bracket didn’t cover the start of the triplet in the first screenshot, since it doesn’t make sense rhytmically. Still, it’s always interesting to show that, rhythmically, thanks to tuplets, Dorico can reproduce absolutely everything — even editorial mistakes!
Because it’s actually quite common to need to reproduce “deliberate mistakes” (particularly in 19th-century piano music – Schumann, Chopin, etc.), for which nested tuplets are essential.
Maybe I should have insisted more, but I did put a warning before showing the trick — “Are you sure?” 
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Point taken, (although I don’t think this is the case here and I’m guessing you don’t either) but don’t you think it would have been less complicated if you had advised to OP to enter the rhythm correctly and then nudge the tuplet number and bracket in engrave mode? At least that way it would still play back correctly.
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By the way the original is some functional sheet representing Bohemian Rhapsody transposed one tone higher. And I cannot imagine that Freddy Mercury – who could read music – has notated his masterpiece with wrong key signatures. In this version the ballade is supposed to be in C and the opera part in B natural.
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The stuff copied here is Brian May’s solo. As clever, musical and sometimes intricated as his parts could be, this example is 100% copyist mistake. The run starts with 16th notes, then tuplets 
Brian’s rhythmical skills are great, he could really play those runs with some freedom, a kind of rubato that makes it really musical (compared to some masters who achieve a less interesting “perfect” rhythm). But there is no point in complicating the way it’s notated, my 2 c.
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