When I started writing my Scherzo in D, I initially thought of having the time signature be 3/4 since that is a very typical time signature for a scherzo, especially earlier scherzos that are closer to Minuet and Trio. I wrote my entire Scherzo section without even thinking about the time signature. I focused on melody and harmony when writing the Scherzo section of my piece. Only now has this dilemma on the time signature came to me. This is partly due to some people giving feedback that my piece is in the wrong time signature and that it should instead be in 2/4. And now I'm getting feedback saying that I can't use just a single time signature for my piece.
That, the feedback I am getting saying that I can't use just 1 time signature and that I have to instead use both 2/4 and 3/4 is really confusing me. Here is the piece in the original 3/4:
As you can see, everything fits neatly into 3/4, at least with the 3/8 anacrusis. But then, this user Teodor Lontos(who gives detailed comments on my scores) says that the 1 quarter 4 sixteenths figure fits better into 2/4 than 3/4 and that my pickup, my anacrusis, should only be the first eighth note. So far I have no issues. So I change the time signature to 2/4 and save it as a separate file from the original 3/4. Now, I'm noticing a mess. Some of that, I can fix by deleting and readding notes, ties and the key signature change. But, even after that initial cleaning step, some mess still remains, all having to do with one of 2 things, those being:
Accent(like for example, the Neopolitan chord moves from being on a strong beat to being on a weak beat)
Ties, specifically, ties across the measure(for example, the augmented sixth chord moves the cadential 64 and root position tonic to be tied across the measure, leaving a quarter rest at the end of the Scherzo section)
Here is what I'm talking about:
As you might be able to tell, quite a few bars that were neat in the 3/4 version(like for example the triplet bar) are messy in the 2/4 version. Also, in Musescore, it is impossible to have a volta start in the middle of the measure so either I separate it into 2 1/4 measures to get the same playback as in the 3/4 version or have the second ending be abrupt.
So then I tell him about these messy areas in the 2/4 version and he says:
That is because the first bars, you wrote in 2/4 and then later you wrote in 3/4. The correct way to notate it would account for this change in accent.
I then asked him how and he told me that my scherzo can't be in a single time signature, that the first 8 bars fit into 2/4 nicely, but by the ninth bar I need a 5/4(or 3/4 + 2/4) and then the rest of the first section should be in 2/4. This got me confused. My original 3/4 seemed neat, much neater than the 2/4 version. And I don't want to confuse the pianist with multiple time signatures if I don't have to. I personally, usually see time signature changes corresponding exactly to tempo changes. But, maybe that is because I'm used to playing Beethoven. I myself might get confused if I see 2/4 and then a few bars later 3/4, especially if the changes are not at a consistent interval or at important moments of the piece.
Anyway, do I really need to use multiple time signatures for my scherzo? Or is it just fine notated in 3/4 as I originally wrote it?