Time to get even speedier with this series of videos on Finale’s Speedy Entry tool. Everything from notes, rests, ties, tuplets, grace notes, chromatic alterations and many advanced notation options can be controlled from the Speedy Entry frame.
Have you listened to some contemporary music with irrational time signatures and now want to make use of split tuplets, like 2/3 of a triplet? Today we’re going to look at creating these in Sibelius and Dorico.
A plug-in creates tuplets in Sibelius that appear to cross barlines. You can specify a tuplet starting position, a tuplet ratio and size, and some other tuplet properties, such as a tuplet bracket and number that will span the entire tuplet.
The Norfolk Text font for Sibelius is updated with the same numerals in the most current version of the Bravura font, for a more consistent appearance both internally and with other applications that use Bravura. This is most noticeable on tuplets.
The Sibelius plug-in Create Tuplets Different Units automates the entire process of creating a tuplet where the “numerator” and “denominator” do not share an equivalent unit, such as two quarter notes in the space of three eighth notes.
It sounds so simple, right? Two quarter notes in the space of three eighth notes. Except… there’s a bit more to it in Sibelius and Dorico.
“Divisions of a beat are beamed together in all meters, in order to simplify reading beats,” says Elaine Gould. Here’s how to change the default beam grouping in Sibelius so that it matches your musical intentions.
The Create Trailing Pseudo-Grace Notes plug-in for Sibelius automates a detailed method for creating grace notes at the end of a bar using tuplets, as a workaround for Sibelius’s limitations in that area.
It is not unusual to encounter grace notes at the end of a bar — that is, before the barline. Entering this variety of grace note in Sibelius is a chore, but there is an approach which involves using tuplets to achieve good results.
In Dorico 1.2, you can notate a piece with any time signature displaying as any other time signature. In this tutorial by Florian Kretlow, we’ll illustrate a useful trick that shows how to do just that, by using a piece from the core repertoire as our real-world example.