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Thanks for the suggestions. Yes, the extra measure between the end of the first verse and the start of the second is correct. I had trouble making all the measures the same size because of overlap between the flat symbols and the following barlines, especially in measures that change chords on...

Done, this time from a different device.

Ain't No Cure For Love (Cohen/Warnes) -- request for improvement Here's a chart for Ain't No Cure For Love by Leonard Cohen, as performed by Jennifer Warnes. I wonder if anyone can tell me how I might improve it, particularly in two ways: 1) I don't want to have to write practically the whole...

Done. I hope. I submitted it to the Pop/Rock forum from the app on my iPad. It didn't appear, so I tried again. I suppose that means that now two copies will appear there, in which case the moderators are invited to delete whichever one is less helpful. If it didn't show up, then I have no idea...

I don't need to play through the AA'BA'B' structure more than once--but if I use a coda symbol, it appears that the "coda" is played only the firsttime through, not the second. The song is here.

If I were writing it out by hand, I might label the second ending as "2, 3" (i.e., 2nd and 3rd ending), then put a coda marking near the end of the B section.

The thing is that if A and A' differ by only a few measures at the end, the usual way to write it is with first and second endings. Similarly for B and B'. What I'm seeking is a way to write the IAA'BA'B' structure without having to repeat the chords that A and A' or B and B' have in common.

I cannot figure out how to enter a song efficiently with the following structure: 1) Introduction. 2) Verse. 3) Verse repeated, but with the last few measures different. 4) Bridge. 5) Verse, last few measures as in (3) above. 6) Bridge repeated, with the last few measures different. I can get...

Aha! -- so a double bar actually has semantics beyond its looks. Are there other semantic rules associated with it? Also, are there semantic rules associated with rehearsal letters? If so, do different letters carry different rules?

Aha! I see the problem. If a bar has "D.S. al 3rd end" but ends with a single rather than a double barline, the instruction seems to be ignored during playback. So there's something magic about double barlines. Can you explain the rules for how the player treats barlines? Also, it seems to me...

Yes, that's exactly what I wanted. However, when I tried to do that, playback sailed right through "D.S. al 3rd end" as if it weren't there. Is there something magic about its placement? About the double bar line?

Yes, and it is very much like what I tried, except that I used "D. S. al 3rd ending," which didn't seem to work. I'll try some more,experiments tomorrow.

I understand that. The thing is that the AABAC form I'm talking about is equivalent to a section with multiple endings in which the first ending is empty, and it's not possible to have an empty ending as far as I know.

OK, that did the trick; thanks! However, having done that, I now realize that it's not quite what I want. What I really want is an intro followed by an AABAC form. There must be an easy way of doing that...

An, I thought that the player insisted on statically matching open and close repeats. Let me try it.

I am trying to enter a song with first, second, and third endings. I put an open repeat at the beginning of the part I want to repeat, and a close repeat at the end of the first ending. No problem so far: It plays the body, the first ending, the body again, and the second ending. But now I...

Nevertheless, there are times when it would be useful to be able to say that a chord is supposed to be pushed or pulled half a beat as an indication to the player(s).