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Messages - hmmueller

301
General Discussion / Re: Help! I am an illiterate in GuitarChords.ms!
I did send a private reply ... I can never tell when I am assuming too much prior knowledge.
Ah, I didn't know; or guess that someone did.

And yes, re the knowledge, it's mostly hard to tell. I started erring on the side of more detail because I think "others will read this too, and they might know even less" - as long as I feel that I am certain about some answer, which isn't always the case ... (for example, I still do not know which objects come pre-installed - just because I don't install Noteworthy any more, as it is already installed  :), and I'm too lazy/do not know where to look this up).

H.M.
302
General Discussion / Re: Repeat all
I've experimented with the preliminary object a bit, and I have a couple observations: ... Aside from these issues, this looks like a promising approach.
Thanks for reply ... it seems this will become even "kludgier" than I intended. Still, I'll try to complete it - will take a few days, as work (in a healthcare sector) is more than ever ...

H.M.
303
General Discussion / Re: Help! I am an illiterate in GuitarChords.ms!
Somehow we oversaw this ... the idea behind this is that you "add user objects" (in this case, "GuitarChord.ms" objects).

First of all, you must "install" the object. For this, you go to https://forum.noteworthycomposer.com/?topic=9081.0 and, at the first "Code" part, click "Download". Open the downloaded file - and Noteworty will (might) tell you about the missing GuitarChord.ms object. If this is so, press "Ctrl-J" (or Tools -> Manage Objects), right click on the Object Type "GuitarChord.ms" and "Install Download". Now, you can use it.

For using it, go to the place in your score where you want to show a chord symbol. Press J and then G (to go near GuitarChord), go to "GuitarChord.ms" and press Enter (or doubleclick on GuitarChord.ms). Now, you will be asked questions about the chord - answer them and continue with Enter ... after the 3rd one, a chord symbol will appear!

If you need to change it, highlight it and press Alt-Enter - you get the "Notation Properties" dialog where you can change all the properties. For help, press the "?" in its right upper corner and then on some field (e.g. the text field near "Fingerings"), and you are shown information how to fill this field.

I hope that gets you up and running ...

H.M.
305
General Discussion / Re: Repeat all
Most probably, NWC's flow control is Turing complete  ;) - so there's no way to decide whether it does what you want or not ...
Seems like an exercise for a course in formal languages - which I took, decades ago, and was quite good at it. But not at ... well, you know.

Ok - not a helpful answer, I know.

H.M.
308
General Discussion / Re: different Time signature between Voice and piano: How to correct Bar positions?
Here is how I would do it - if the patterns are as regular. I suspect that's actually what Massenet thought: Triplets! - but why write all those triplets markers? - just put 12/8 in front of it.

So: Write the 12/8 staff as triplets on a C (hidden time signature!) staff, but suppress all the triplet symbols with a "Marker" - created on the keyboad with @ - where "Triplet" is selected; and Visibility is "Never". See attached example.

There might be places where the notation does not really fit - then, you have to fill up with invisible eighth breaks or the like.

(And this will not work if there are triplets on the 12/8 staff - which would be weird, but possible: In that case, you need to change the time signature to 12/8 at those places [or use it throughout]; and write the C staff with "lengthened" notes; the easiest way is adding a dot to each note/chord; and suppress it with "Extra Dot Spacing" set to -1. But this will get you into new troubles if you have dotted notes on the C staff ... which would then require those invisible breaks ... which will, then, make playback "wrong" [which would need separate tempo changes at the C-to-12/8-and-back changes anyway] ... etc.etc.)

H.M.
309
General Discussion / Re: Possible bug with Wing Dings font?
I'd say that you cannot use the WingDings font as the default "Staff Metrics/Notation Typeface" font - that font must be an "NWC" font like NWC2STDA or NWC2SwingDings - do you mean the latter? But with that, at least for me all is fine - see attached image (made after pressing F11 to see the rough print result; the second bar has"Use stem for articulations" set at all notes).

H.M.
311
Object Plugins / Re: BarCounter.hmm 0.5
I have uploaded version 0.5 in the initial posting, which should be without the MMR bugs. If anyone still finds problems with it, please let me know!

H.M.
313
Object Plugins / Re: BarCounter.hmm 0.4
Thanks again - I have just confirmed that it is a bug in my code - but I do not yet know what the problem is. I'll try to find it out!

H.M.
315
General Discussion / Re: interruptions to Noteworthy composer while working with files
I'm not really sure I understand your problem - do you, by "my music program", also mean Noteworthy? and do you mean by "deleting a screen" that you close it?

My first question is: Does this happen with your hands off the keyboard, i.e., "just by itself"? Or is your hand near the keyboard - and do you use a laptop?

The reason for my question: Some people (e.g. my wife ...) inadvertently touch the touchpad while using the keyboard, and then weird things start to happen; it seems difficult to change the hand position in such cases, as this is something "ingrained" in us. Might this or something similar be the problem? - because I have never heard or seen that NWC or standard Windows opens some dialog "just by itself".

... but I might be on a completely wrong track ...

H.M.
316
User Tools / Re: Copy and past measures of mutiple staves
Just as a note: I'm quite opposed to using measure numbers in a tool. Measure numbers are for musicians in the final product; but while editing, they are ill-defined, especially over multiple staves. Better, in my experience, are simple text markers put into the staves - they remain stable even when things are added or removed before them; and can easily by copied and removed by small helper tools.

H.M.
318
General Discussion / Re: Staves do not always get assigned to stereo channels properly.
If two or more staves are on the same channel, but have different MIDI options (volume/pan, but also e.g. MIDI patch instructions) chaos will ensue - i.e., it is then not clear which staff will "win".
So, make always sure that staves that have differing pan (or other MIDI) options go to different MIDI channels ...

... which might be (little) a hassle on the synthesizer (DAW) side, as you might have to setup different tracks with identical instruments/voices. I usually map each (NWC) staff to its own (DAW) track because that helps to avoid such confusions.

H.M.
319
General Discussion / Re: Producing a "jazzy" feel
this proposed object...
Would it maybe be able to do the tempo adjustments too?
No chance, I'd say. The best one could do is to provide a user tool which places the tempo variations on a selected separate staff. If the tool is genius, it could
* check that at some beat, there are no eighths, but there's a triplet - and then not add  the swing tempo changes in that quarter, but a single tempo for all of it (a measure that contains a triplet in on voice/staff and two "swingy" eighths in/on another would stump the tool, of course, as it would each of us ... NWC can't do this).
* look for explicit manual tempo variations on some staff and modify the computed swing tempo entries accordingly (with the additional problem that having two different tempos at the same instant in NWC produces an indeterministic result - so, one should probably add a 1/128 break before the inserted tempo change so that it always "wins");
* and, finally, mark its added tempo variations in such a way that they can be removed easily ...

I have not at all thought this through, so maybe there are different and much better possibilities; but this is what I'd assume one encounters when trying to play that swingy thing.

(And, please, if someone does this play thing, do not assume that the "swing ratio" is always 2:1 - it might also be 60:40 or 55:45; and it might change, so that ratio would have to be an option - even though the printed symbol always claims this "triplet ratio").

... just my destructive 2 cents ...

H.M.

P.S. Should I write "shuffle" instead of "swing"? - I think that would be the more correct term ...
321
Object Plugins / Re: BarCounter.hmm 0.4
I found an instance where the "workaround" also fails.  BarCounter absolutely does not like to precede the MMR plugin in a measure.  To correct the problem, I added an instance of BarCounter after each measure containing MMR (which worked).  Experimenting, I moved the "workaround" back one measure (to avoid the MMR).  Problem also went away.  I adjusted the previous-posted failing score for illustration.

Thanks for this tip! Bar counting (like some other objects) does not work nicely with MMR, unfortunately. But I have no good idea how to repair this.

H.M.
322
Object Plugins / Re: BarCounter.hmm 0.4
For a choral piece with string quartet, I usually need seven different scores: conductor's score, choral score, rehearsal score (with piano instead of strings), and four voices for the strings. Each one needs bar numbers, and I use my BarCounter.hmm object extensively to number every other measure. However, I make errors - mainly by having additional bars from some edit experiment; or forgetting to mark some in-measure bar line with "Exclude From Bar Count".

After three years of distributing not only one score with one-off errors, I finally added a simple flag that checks whether the numbers are consecutive at a next BarCounter object.

Typically, one would add a BarCounter object in the final measure of each staff that shows numbering in some score, and set its starting number to the expected last bar number. If the bar count is not correct there, an error message is shown above it - see the example score attached to the initial posting. I finally hope to have flawless numbers in the years to come.

H.M.
324
General Discussion / Re: Installing on new computer
Or buy it anew. That's what I did. The price of NWC is laughable compared to its features: I think paying anew for the goodies we got is not wrong, and its affordable, I'd believe.

H.M.
325
General Discussion / Re: Move Staff
It works fine on my Win10 laptop.

- The non-num.block PgDn/PgUp keys do what they should with Ctrl-Shift (and without).
- The num.block PgDn/PgUp keys (3 and 9) work only if NumLock is not engaged. Otherwise, Ctrl-Shift-Num3 and Ctrl-Shift-Num9 work like PgDn/PgUp, i.e., the selected staff changes.

// Edit: Ah, the Opera explanation is nice!

H.M.
327
General Discussion / Re: An idea
Honest answer: Bad conscience; still paying for two domains for that; additional scribbles about what to write; but no real plan at least for this year, also because of a tragedy with a relative of mine a few days ago. In other words, I have not given up on it - but that's about it.

H.M.
328
Object Plugins / Re: CueHeads.ms (1.0)
... you can assume both musicians will be well rehearsed and the soloist will not need cue notes nor the equivalent of a full score.  ...
My experience both as a reader and a writer of scores is that cue note writing is an art in itself (I think there are citations around saying this).

The first "problem" is that musicians think in phrases; writing half of such a phrase in cue notes is of no help, because the reading musicians cannot "jump into the phrase" when its middle is suddenly played by someone. But what the right phrase is, is often unclear; and music from later periods - starting with the romantic age - gets more and more muddy with respect to useful phrase boundaries.

The second problem is that many musicians cannot read notation for other instruments: Many singers, string and wind players - even professional ones - cannot read chords, so piano cue chords are not much help for them.

What I see (therefore?) is that "single voice" players actually count through even long stretches of rest bars, and are astonishingly precise - in contrast to "continuous" (or continuo?!) players like organ and piano players, who mostly do not have such rest runs.

I have tried to ask musicians what would be most helpful for them to find their entries more reliably - but the answers were haphazard and unhelpful. Thus, I have stopped writing cue notes ... if someone wants them; I will write them; but on the whole, the effort seems not to be honored that much.

H.M.
330
Object Plugins / Re: Beam.hmm (0.9)
I think you have the staves switched. Check SEBC's notes again ...
Ah - one word overlooked (but clefs would have been helpful, I whisper ...). Well, it made an "interesting" example, didn't it? So let me try the (hopefully) intended version ...

EDIT: Here is a picture of what it could look like; nwctxt file is attached. By moving down the object you can alter the layout of the left note, pressing +/- changes the layout of the right stem - this could be used to place the beam between the staves. Also note that I have removed or made invisble the rests - I think they would be wrong, as the voice itself does not pause:

<Image Link>

Re "Would it look better to have the eighth notes on beats 2 and 3 beamed across the staves?": If you actually want to place the notes on the two staves, cross-beaming makes sense. However, if these are staves with treble and bass keys (e.g. for piano), I, personally, think no-one would do that for these notes that are close to the middle c. The main reason against this notation is that the long stems make it appear that the notes are rather far from each other, when, on the contrary, c-d is a very small interval. A simple ledger-line d would suffice and be standard notation and be much quicker to comprehend.

H.M.
331
Object Plugins / Re: Beam.hmm (0.8)
There's some musical information missing here - for my answer, I assume that this is a keyboard (piano, ...) piece, with treble clef on the upper staff and bass clef on the lower:

<Image Link>

and that you want to indicate that the right hand should play the two low f's:

<Image Link>

I do not know much about (more complex) keyboard writing - maybe others know how it should be done. But I think attaching some text notes (m.s. = mano sinistra = left hand; and m.d. = mano destra = right hand; or l.h. and r.h.) makes clear what should happen (and yes, I would leave in the rests):

<Image Link>

I tried it with cross-beaming (see attached .nwctxt file) - but first, I cannot see a way to route the lines so that it looks acceptable. And second, the Beam.hmm object limits the lengths of the stems (starting with the second note) to 20 - I never thought anyone would need more. Here, it seems, the second note of the first cross-beam would need a beam length of 30 or so to get it working more or less:

<Image Link>

... however, as I said, cross-beaming seems overkill to me, here. Let me know if you need longer stems, I can most probably change that easily.

Re your question "how to get the middle stave stems to show up without the flags", setting the stem length to zero worked for me. But there seems to be a bug in the Beam object: The left beam suddenly vanishes if it is short than 7 or something like that. In my experiment above, it worked because the length is a little larger ... I'll look into that problem when Ihave time.

EDIT: Ah - there is a solution that looks somewhat acceptable (the nwc file is now also attached):

<Image Link>

And I cannot reproduce the problem with the vanishing stem - don't know what happened there.
Lastly, I have uploaded a new versin (0.9) which has the "final stem length" limits increased to -50...50.

H.M.
333
General Discussion / Re: Win10 problems in scrollboxes
I looked around a little bit on the internet whether this problem was known. The only threads I found pointed out such a behaviour with the Qt library (a portable graphical user interface library). I don't know whether NWC uses Qt - however, it seems that the problem can only be solved reliably by modifying the program code = programming. If I find something else, I'll post it here ...

H.M.
334
General Discussion / Re: Win10 problems in scrollboxes
...Does anyone have this problem on:
  • ...
  • a non-Dell Win10 machine?
  • ...

Yes! - I do have this problem, as I have just found out. I have a Fujitsu Win10 laptop; and exactly that dialog has this bad behavior.

I have had this Win10 machine for two and a half years and never noticed any problem with it - neither with NWC nor with any other program; so it seems I just use it in some way that does not find such hiccups (for example; I use the arrow keys in that dialog. But that doesn't really help you). The problem is there. That's really annoying - for you, and probably many others.

H.M.
335
General Discussion / Re: Spacing out endings
This sounds awfully complicated for a task that should only take 10 or 15 seconds to do manually.
...

Not in my experience if there are 1...4 measures overhanging on the next page, i.e., you have to compress the (last 10 or 15 measures of the) score a little. With choral scores, you don't want a 5-page score if a 4-page score might do it: 4 pages nicely fit on an A3 double-sided print; 5 pages are a nuisance. Also, in this case, adding or removing staves (soloists, instruments, ...) for additional score prints often destroys what I changed for some previous print.

Evening out by lengthening the last lines of a score is, as you say, usually quick and easy,  ...

... however, when you have additional single-staff scores (as are necessary for all instruments), sometimes one wants to do the "compression" thing on them - and then one (I) get(s) confused what change does what on the different score prints.

But I confess that up to now, I always found some way of formatting the typical 6 printouts (choir voices, full score, strings single voices) quite nicely, after 15 minutes or so - which is a trifle of the time needed for composing/arranging and writing the complete score; and with a somewhat more organized way of doing it, I might do it in 5 minutes.

(The hardest thing is taking a score from 4 years or so back, changing a few things somewhere - our choir is getting older ... you get the problems ... -, having multiple old additional line breaks in there, and maybe also spacers, and then redoing the whole formatting: I'd at least like to have a tool that removes (most?) spacers and line breaks with a single action, I guess ...)

H.M.

P.S. Us software engineers like to sometimes think about solutions to problems that could be solved manually also. I guess that we sometimes actually do come up with something useful ... at other times, yes, we solve something which is not really worth the complexity introduced with that technical thingy. But what would composers of the past centuries have thought about NWC? - hand-writing of scores, after all, has worked for all of them, with quite astonishing results. Is our software mania really a productivity surge, or rather - as some claim - more of an obstacle to think more about doing the right things only, instead of just doing everything more and more quickly ... my thoughts drifting off into wherever ...
336
General Discussion / Re: Spacing out endings
Ha - a separate object - of course! Integrates nicely with a user tool for that object. And of course, the funny last-digit idea is not necessary then - arbitrary markers can be implemented and use. I won't have time to implement anything for the next 2 months or so (up to Christmas) ... but then I might try something, if you don't beat me ...

H.M.
337
General Discussion / Re: Spacing out endings
On my commute, I thought a little bit about the specification of a "spacer tool". Here is what I came up with.

The raw tool would have the following selections:

  • You can specify where in the score (in which range) the tool does its work; typically, it would work on all staffs present
  • You can specify at which places the tool does its work - both by specifying places by note lengths; or specifying the modification of previously created spacers.
  • You can then select how to create or modifiy the spacers (set their width)
  • Finally, the spacers can be "marked" so that "types" of spacers can be easily distinguished because besides the spacers for evening out, there will be other, "manual" spacers for e.g. placing texts which should not be touched by this tool.

Here is a somewhat more precise writeup of my ideas, with remarks on some selections - I have no idea whether all this is possible ... but it might "come in handy":

Select range (ONE OF, i.e., you can only select one of the following options):
  • Measure ... to .../END of score (-- i.e., all staffs; complete score is "Measures 1 to END"))
  • Selection on current staff
  • All of current staff
  • From marker ...text... to ...text... (-- I found text markers much more useful than measure numbers with my "copy" tool, mainly because they are more "stable" (don't change with score modifications), so I'd like to include them here. But this is a secondary issue.)

Select locations (OR, i.e., you can choose multiple possibilities, which are then combined with a logical or):
  • After notes between 1/16...1 and 1/16...1
  • After rests between ... and ... (-- One could think about more precise note/rest selection, e.g. dotting etc. I don't think this is really useful.)
  • Before/after barlines (-- selecting the type of bar might maybe come in handy)
  • At spacers marked 1...4 (-- The width of NWC's spacers is defined to two decimals - which is clearly not necessary. Therefore, we can use the last digit as a "marker": E.g., "marking with 2" would create widths of e.g. 0.52, 1.02, 1.52 or 6.02 (see "Mark spacers" below). Here, we can select the tool to work only on specific spacers. I imagine that one would first add "rougher" spacers with marker digit 1, and then add more delicate ones with 2, maybe some specific ons with 3 - and one could then modifiy or even remove a specific "type" easily.)
  • At spacers with colour ... (-- Instead of (and in addition to) marking with last digits, one can also mark with colours. The advantage is that the type is directly visible. And as spacers are not "printed", the colour does not turn up in the printed score.)
If a spacer is found in cases 1....3., no new one is created, but the found one is modified.

Spacer width (ONE OF):
  • "Intelligent" with factor = -3...+3 (-- This would be some formula that takes the previous note/rest length and computes some "logarithmic" spacer width from it. The factor would indicate some sort of "compression"/"extension".)
  • Fixed with value (-- Set spacers to a specific value. Only first digit after comma is used, because the second one is used for marking - see above. Value 0 means remove.)
  • Increment/Decrement by value (again, value is only used up to one place after comma so that marker digits are not disturbed)
  • Remove (-- is the same as "Fixed = 0", added only for clarity.)

Mark spacers (OR):
  • Last digit 1...4 (-- see explanation at selecting locations)
  • Colour
  • Visibility ( -- One can also select the visibility of the added/modified spacers, which is useful for scores used for printing single voices as well as full scores.)

Now, such a tool would definitely overwhelm any user on the first usage. So, there needs to be a standard setting that is helpful for first experiments. Moreover, it might be useful to have a set of pre-defined (or even user-definable? how??) "profiles" that might be selected easily. Here is an attempt to define such a basic setting:

Select:
= At notes between 1/2 and 1
= At rests between 1/2 and 1
Range:
= Last 15 measures
Width:
= Intelligent -1 ("compress somewhat")
Mark:
= Marker digit 1
= Colour "Hightlight 1"
= Visibility "Multi staff prints"

That's it ... now someone might implement such a beast; and then try it out in mulitple use cases to find out whether all that is necessary; and can be handled by the "average user" (or even by the "power user") ...

H.M.
338
General Discussion / Re: Spacing out endings
    ... there's a fairly easy trick for that: just put a bar line at the end of the score, with its properties set to "Force System Break".

    I think @SEBC talks about beautifully evening out the end, so that the last page is filled approximately with an "equal note density" - because this is quite some work. What I do (with choral, quartett, and larger scores, i.e., 3...10 and even more staves):

    If the last system spills over to a new page:
    • First, I add spacers after all whole rests, starting from the end;
    • If this is not sufficient, I start putting spacers after whole notes, half rests, half notes, etc.
    • With choral scores, often the text extends measures so much that spilling over happens; spacers are not very useful then, because the text can overlap, so typically I make the lyrics a little smaller (tricky, as one can enter only integral sizes; but with resizing of the main size, one can get in-between sizes - explained somewhere else)

    If the last system is too wide, i.e. there are too few notes in it:
    • I count the average bars on the systems above - let this number be N (typically 4...8 ); and start adding forced breaks at every N-1th bar line counting from the end - this will "even out" the measures over the systems.

    If single voices should be produced from the same score, the formatting spacers should be set to Visibility "Single Staff Prints" or "Top Staff Only" (the latter is more consistent with the behaviour of the forced breaks, which also do their work only if they are on the top staff).

    But doing this manually is actually un-nice work - some tool that would at least do some of the work heuristically (and, moreover, undo it if too many such formatting gimicks are spread over the last page or more) would be really nice ...

    H.M.[/list]
    340
    General Discussion / Re: How to separate percussion into individual staffs?
    Here is an attempt at the user tool that removes certain noteheads (it took me much longer to write than I hoped - well, I've forgotten almost all of Lua). This does not (yet) do the compaction of rests Lawrie has mentioned; and it may be arbitrarily buggy ...

    Usage: You mark a range of notes/chords; the first one indicates which noteheads should survive (typically, you would add an auxiliary grace note for this). Running the tool removes all other heads. See attached gifs for a demo.

    H.M.
    341
    General Discussion / Re: How to separate percussion into individual staffs?
    One (I) could do this manually in half an hour or so, with a text editor, as follows:

    a) Create all the staves; and copy the notes into them.
    b) Save as .nwctxt, and then, for each staff:
    b.1) With a regular expression editor, replace all the notes that are to remain in the staff with some marker (essentially, replace pattern |Note|...|Pos=N|... with e.g. |XNote|...|Pos=N|..., where N is the position of the note that should survive in this staff).
    b.2) Replace all the remaining |Note| with |Rest|.
    b.3) Replace all the |XNote| with |Note|.

    It worked in a small example I tried. I did not find a tool which could do this programmatically - "Global Modification", it appears, cannot do "type replacements", but maybe I overlooked one.

    H.M.
    343
    General Discussion / Re: Edit window scrolling - one for the wishlist
    I often add a "tail" of empty dummy measures for this - usually I fill them with a number of eighth breaks so that I can distinguish them optically from real empty measures (one could also add say red breaks). With ctrl-right, you can then scroll to the right to see what's there in other parts.

    During editing, it so happens that I overwrite these dummy measures (copying down highlights and overwrites them) - then I have to add them again (a tool would be marginally helpful for this, but I have never written it ..).

    This is also sometimes helpful if I write into lower staves when intermediate ones are still not filled (as it happesn during arranging); and I dont want to reorder the staves because I might get confused - see the attached example of "work in progress" on a Queen arrangement for crank organ.

    H.M.
    344
    General Discussion / Re: Is there a way... to collapse and cancel it within a system?
    Is this really worth the effort? In such cases, it is usually also necessary to decorate the newly beginning staves with various braces and maybe labels - it would be quite a lot of work to recreate all this with the limited drawing possibilities of NWC. I'd rather say that this is simply something NWC cannot do. For those (like the poster who asked) who need something akin to it, some manual work is fine so that the right compromise can be found.

    H.M.
    345
    General Discussion / Re: Is there a way... to collapse and cancel it within a system?
    Here is an idea that might work (see attached example): You overwrite the staff part you want to disappear with some text that completely blanks it.

    First, replace one of NWC's Highlight colors with white - you can do that under Tools->Options->tab Color. In my NWC, I have chosen "Highlight 4" to be white.

    Then you create a text with some Times Roman font with the single character with code 9608 (0x2588) - this is a filled rectangle. Increase its scale to 300% (to cover all 5 staff lines); select your white highlight color on its Visibility tab; and then place it at suitably located invisible breaks. At the very left of your blanked segment, add such a text with justification "Left" (so that it starts at its insertion point); and at the very right, add such a textwith justfication "Right" (so that it ends at its insert point) - by this, you can precisely place start and end of the whited section by attaching these texts to e.g. bars (maybe even transparent ones).

    Yes, a complete crutch. But maybe it helps.

    H.M.
    346
    General Discussion / Re: Strange music typeface
    Using NWC2SwingDings as staff font, and a note spacing of 0.9 makes them a little more beautiful, in my humble opinion ... And the XText object can be used to create a simple "ornamented end bar":

    Code: (nwc) [Select · Download]
    !NoteWorthyComposer(2.751)
    |Editor|ActiveStaff:1|CaretIndex:1|CaretPos:4
    |SongInfo|Title:""|Author:"<Name>"|Lyricist:""|Copyright1:"Copyright © 2019 <Name>"|Copyright2:"All Rights Reserved"
    |PgSetup|StaffSize:16|NtnTypeface:NWC2SwingDings|Zoom:8|TitlePage:Y|JustifyVertically:Y|PrintSystemSepMark:N|ExtendLastSystem:N|DurationPadding:N|PageNumbers:0|StaffLabels:None|BarNumbers:None|StartingBar:1
    |Font|Style:StaffItalic|Typeface:"Times New Roman"|Size:10|Bold:Y|Italic:Y|CharSet:0
    |Font|Style:StaffBold|Typeface:"Times New Roman"|Size:8|Bold:Y|Italic:N|CharSet:0
    |Font|Style:StaffLyric|Typeface:"Times New Roman"|Size:7.2|Bold:N|Italic:N|CharSet:0
    |Font|Style:PageTitleText|Typeface:"Times New Roman"|Size:24|Bold:Y|Italic:N|CharSet:0
    |Font|Style:PageText|Typeface:"Times New Roman"|Size:12|Bold:N|Italic:N|CharSet:0
    |Font|Style:PageSmallText|Typeface:"Times New Roman"|Size:8|Bold:N|Italic:N|CharSet:0
    |Font|Style:User1|Typeface:"Times New Roman"|Size:8|Bold:N|Italic:N|CharSet:0
    |Font|Style:User2|Typeface:"Times New Roman"|Size:8|Bold:N|Italic:N|CharSet:0
    |Font|Style:User3|Typeface:"Times New Roman"|Size:8|Bold:N|Italic:N|CharSet:0
    |Font|Style:User4|Typeface:"Times New Roman"|Size:8|Bold:N|Italic:N|CharSet:0
    |Font|Style:User5|Typeface:"Times New Roman"|Size:8|Bold:N|Italic:N|CharSet:0
    |Font|Style:User6|Typeface:"Times New Roman"|Size:8|Bold:N|Italic:N|CharSet:0
    |PgMargins|Left:1.27|Top:1.27|Right:1.27|Bottom:1.27|Mirror:N
    |AddStaff|Name:"Staff"|Group:"Standard"
    |StaffProperties|EndingBar:Open (hidden)|Visible:Y|BoundaryTop:12|BoundaryBottom:12|Lines:5|WithNextStaff:Layer|Color:Default
    |StaffProperties|Muted:N|Volume:127|StereoPan:64|Device:0|Channel:1
    |StaffInstrument|Trans:0|DynVel:10,30,45,60,75,92,108,127
    |Clef|Type:Bass
    |Key|Signature:C|Tonic:C
    |TimeSig|Signature:3/4
    |Note|Dur:Half,Slur|Pos:8|Opts:StemLength=0
    |Note|Dur:4th,Slur|Pos:7|Opts:StemLength=0
    |Bar
    |Note|Dur:4th|Pos:6|Opts:StemLength=0
    |Note|Dur:4th|Pos:5|Opts:StemLength=0
    |Note|Dur:4th|Pos:6|Opts:StemLength=0
    |Bar
    |Note|Dur:Half,Slur|Pos:7|Opts:StemLength=0
    |Note|Dur:4th|Pos:6|Opts:StemLength=0
    |Bar
    |Note|Dur:Half,Slur|Pos:6|Opts:StemLength=0
    |Note|Dur:4th|Pos:5|Opts:StemLength=0
    |Bar|Style:Double
    |User|XText.hmm|Pos:0|Text1:" %\}%"|Scale1:175|Text2:" "|Text3:"%\}%"|Text5:"%\}%  "|Offset1:-3|Scale3:150|Offset3:-2.5|Text4:" "|Scale5:125|Offset5:-2|Justification:"Right and wide"
    |Bar|Style:Transparent
    |AddStaff|Name:"Staff-2"|Group:"Standard"
    |StaffProperties|EndingBar:Open (hidden)|Visible:Y|BoundaryTop:12|BoundaryBottom:12|Lines:5|Color:Default
    |StaffProperties|Muted:N|Volume:127|StereoPan:64|Device:0|Channel:1
    |StaffInstrument|Trans:0|DynVel:10,30,45,60,75,92,108,127
    |Clef|Type:Bass
    |Key|Signature:C|Tonic:C
    |TimeSig|Signature:3/4
    |Note|Dur:Half|Pos:8z|Opts:XNoteSpace=0.9,NoLegerLines,Muted
    |Note|Dur:4th|Pos:7z|Opts:NoLegerLines,Muted
    |Bar
    |Note|Dur:4th|Pos:6z|Opts:NoLegerLines,Muted
    |Note|Dur:4th|Pos:5z|Opts:NoLegerLines,Muted
    |Note|Dur:4th|Pos:6z|Opts:NoLegerLines,Muted
    |Bar
    |Note|Dur:Half|Pos:7z|Opts:XNoteSpace=0.9,NoLegerLines,Muted
    |Note|Dur:4th|Pos:6z|Opts:NoLegerLines,Muted
    |Bar
    |Note|Dur:Half|Pos:6z|Opts:XNoteSpace=0.9,NoLegerLines,Muted
    |Note|Dur:4th|Pos:5z|Opts:NoLegerLines,Muted
    |Bar
    !NoteWorthyComposer-End

    H.M.
    347
    General Discussion / Re: Strange music typeface
    I don't know what "sym:" means ...

    The other symbols (left-facting halves, funny ending bar) are very typical for hand-written scores from the 1700s and first half of 1800s. Already the second hand-written score I randomly downloaded from IMSLP - see attached image - has these symbols (it is from a concerto for 2 violins from Karl Ditters von Dittersdorf): The quarters have their stems as today, but the halves have them always on the right side of the notehead; and after the double bar, there are these wiggles that are getting smaller and smaller ...

    I think that the Musescore community has quite a few people who try to mimic such hand-writings with such fonts ... maybe someone "over there" can help you with such a font (but making int NWC-compatible will be some work ...).

    // Edit:
    I added another snippet, this time from the print from 1785(!) of a Dittersdorf sinfonia from 1781 with the same sort of symbols (end bar) and customs (stems for minims on always on the right). This is certainly an engraving - might your score also be one? Then, there is no "font" - only the stamps and punches of the - long deceased - engraver ...

    H.M.
    348
    General Discussion / Re: Sull'arco and Giu arco
    Those same symbals are used in organ music for the pedals to indicate using your heel or toe for a specific note.
    ... but there are also other notations for this - for heel, we mostly use a rounded U (like the mathematical "union" sign) hereabouts. And in some notation variants, there are more complex symbols, e.g. for "change from toe to heel on this note."

    H.M.
    349
    General Discussion / Re: Triplet Notation
    Yes: You can add a "Marker" object before the first triplet note (Insert->Marker; on the keyboard, press @), where you select the checkbox "Triplet" (and de-select the "Slur" checkbox). The marker is shown by a (very) small grey triangle in the staff.

    Then, by moving up and down the marker (either directly by selecting it and then pressing Ctrl-Shift-Up/Down; or by opening its properties = selecting it and then pressing Alt-Enter, and then changing its "Pos"), you can force the 3 to be at certain positions above or below the notes.

    H.M.
    350
    General Discussion / Re: No MIDI Devices Listed -- New Windows 10 Laptop
    And me, of course :D - being last-millenium, yes; but actually because they are quite easy to use. However, what Kontakt can do with is programmatic concept is more "21st century". In the end, of course, it depends only on the purpose of the created sound renditions ...

    H.M.