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Messages - hmmueller

302
Object Plugins / Re: BarCounter.hmm 0.4
Quote from: EdFranks –
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.
303
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.
305
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.
306
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.
308
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.
309
Object Plugins / Re: CueHeads.ms (1.0)
Quote from: David Palmquist –
... 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.
311
Object Plugins / Re: Beam.hmm (0.9)
Quote from: Mike Shawaluk –
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.
312
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.
314
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.
315
General Discussion / Re: Win10 problems in scrollboxes
Quote from: Lawrie Pardy –
...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.
316
General Discussion / Re: Spacing out endings
Quote from: David Palmquist –
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 ...
317
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.
318
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.
319
General Discussion / Re: Spacing out endings
    Quote from: Mike Shawaluk –
    ... 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]
    321
    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.
    322
    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.
    324
    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.
    325
    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.
    326
    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.
    327
    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.
    328
    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.
    329
    General Discussion / Re: Sull'arco and Giu arco
    Quote from: Warren Porter –
    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.
    330
    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.
    331
    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.
    332
    General Discussion / Re: No MIDI Devices Listed -- New Windows 10 Laptop
    Gosh - who still uses soundfonts? - they are so last-century  ;) ...
    ... and, AFAIK, the player can only handle one MIDI device - what do you do when you need 20 or so instruments?
    But of course, if one can live with these limitations, then why not?!

    H.M.
    334
    General Discussion / Re: No MIDI Devices Listed -- New Windows 10 Laptop
    Unfortunately, I do not have a solution "ouf of the box" for you. What I would try as a first step, is to install a "virtual MIDI cable" - I use LoopMIDI, but there is also LoopBe (other, older ones like MidiOx seem to have their own problems with Win10).

    Install it, set up a MIDI connection in it (in LoopMIDI, it's the small + button at the left lower corner), restart the computer and check whether the ports are visible in NWC's MIDI tab. If yes, NWC and the "MIDI logic" works fine, and there's a problem that there is no "MIDI synthesizer" (Windows Media Player does set up one, I thought - but some questions on the internet make me doubt that); or it's a problem with drivers (but that's not my first guess). If no, ... mhm ... I don't really know what that would mean.

    Next, you could install a DAW like Reaper, some virtual instrument like sfz player and some soundfont like the Fluid R3 GM one, and find out whether
    (a) the MIDI signal gets from NWC to the DAW (the DAW will show some flashing when MIDI events arrive on some channel);
    (b) the DAW generates sounds (some other bar will flash);
    (c) the sound actually can be heard (some low-level driver moves the sound signal to some speaker output).
    But all this is a pain, I admit ...


    Edit: Maybe this discussion thread helps (especially the answers by "LBH").


    Edit 2: ... or this one!! (I did not read it).

    H.M.
    335
    General Discussion / Re: What happened to my last bars?
    From the help text of my EditMark user object:
    Quote
    A user object to add a dashed position mark and text that is only visible in the editor. This is especially useful for things that are not at all visible in NWC: Notes with blank heads and no stems, and transparent bars; but also for other editor-only remarks.
    I didn't (then) think of the empty text with preserved width ...
    H.M.
    336
    General Discussion / Re: Continuous Flow when Playing?
    Noteworthy has endless staffs - so you actually DO write single-voiced music music in a single endless staff.
    Multiple staffs are only used for multiple voices or multiple instruments that sing or play together.

    This is different from many other score editors which make you believe that staff breaks (and score pages) are important - they are not. In Noteworthy, you think along an "endless timeline" (but of course, you can have repeat marks and "segnos" to jump to earlier points along the staff).

    The staffs will be "broken into staff lines" only for printing. Usually, Noteworthy does this on its own - you can control it a little bit with the "Force System Break" property on bar lines.
    //Edit: If you want to see what the printout looks like, you can go to "File->Print Preview" (on the keyboard: Alt-F V).

    You also might want to download a huge score from the Noteworthy Scriptorium - e.g. a piano concerto by Mozart - to see how such a monster is written on parallel very long staffs, one per instrument.

    I hope that answers your question - but feel free to ask more if not!

    H.M.
    337
    General Discussion / Re: Standard Scoring Rules
    ... and, you can make everything in NWC invisible by

    • highlighting it (keyboard: put cursor to the left of it, then press Shift-rightarrow)
    • opening its properties (keyboard: press Alt-Enter)
    • select tab "Visibility" (keyboard: press Ctrl-Tab until you see bold "Visibility")
    • select "Never" under "Show on printed" (keyboard: press downarrow until "Never" is highlighted, then press Enter)
    • close properties (keyboard: press Enter once more)

    Pressing Alt-Enter is standard in windows to open any properties - you can do that for files, images, whatever ... NWC uses many Windows standards.

    H.M.

    338
    General Discussion / Re: Standard Scoring Rules
    According to Elaine Gould's "Behind Bars", p.153, the current practice should be:

    Quote
    • Divisions of a [each single, H.M.] beat are beamed together in all metres.[see below for "beats"]
    • In 2/4 and 3/4, any number of quavers [eighths] can be beamed together ...  This is provided that groups in 3/4 do not give the appearance of 6/8 accentuation.
    • In 4/8 and in 4/4, groups of semiquavers [sixteenths] and quavers respectively may be beamed into half-bars.
    • ...
    • Beams joining two or three beats may also be separated to indicate a change of pitch pattern [an example is given which I have attached]

    So ... both ways are correct. NWC does it always according to the first item; I often add an invisible 2/2 after a 4/4 to get the "half-bar pattern", because I like it more.

    A "beat" is not the denominator of the time signature - rather, it is the "musically felt beat". Gould gives the following (obviously non-exhaustive) examples:
    Quote
    • metres of 2 beats: 2/4, 6/8, 2/2
    • metres of 3 beats: 3/2, 9/16
    • metres of 4 beats: 4/4, 12/8

    H.M.
    340
    Object Plugins / Re: Beam.hmm (0.8)
    ... and I just found another use for this object with the 0.7 modifications: Creating a double-stemmed chord with different stem lengths (which, AFAIK, NWC does not support out of te box). See attached example!
    341
    Object Plugins / Re: Beam.hmm (0.8)
    A small change in version 0.8 now makes RestChords behave as expected - see the (modified) example in the previous posting.

    H.M.

    P.S. ... but the spacing of the dot and the notes is not nice. This is probably still a kludge, at least in more complexe cases like these.
    342
    Object Plugins / Re: Beam.hmm (0.8)
    With just a handful of changed lines, version 0.7 makes it possible to limit the number of beams at a note to a fixed number of zero to three beams, irrespective of the actual note length.

    This is very useful for two-stemmed chords. Actually, the beam object could always be applied twice to two-stemmed chords - however, up to now it looked only at the shorter note length for beaming both stems. With the new options for drawing a fixed number of beams, one can now also draw the correct number of beams for the longer note length.

    The additional option to draw zero beams is useful if a two-stemmed chord does not require a beam for its longer note: The beam object now nicely draws the stem for the non-beamed note (which is not drawn by Noteworthy, as overriding the stem to zero removes both stems).

    The attached example (also attached to the second posting of the thread for completeness) shows a two-stemmed chord at the beginning of the measure, with two beam objects applied to it: The upper has fixed number of zero beams and therefore only draws the stem for the half note; the lower one takes care of the beam for the eights. However, at the fifth eighth, another two-stemmed chord with a sixteenth tries to interfere. But the beam object for the lower notes here fixes its number of beams to 1, so that no fractional beams for a sixteenth are drawn. In the meantime, yet another beam object connects the four sixteenths on top with two beams.

    H.M.
    343
    General Discussion / Re: With a little help from my friends...
    Quote from: Flurmy –
    What do you use to "mechanically" create the instruments score?
    Me. The process is straightforward - mark all, copy it, transpose it, audit notestems for all staves; and then go over the complete score and do e.g. MMR replacements, various alignments (which I usually copy back into the concert pitch score) and, on the whole, re-read and re-think the whole music ...

    Quote from: Flurmy –
    N.B. In my case there is a problem: the score is in 2/4 and the full measure rests are 2/4, not whole rests.  ;D
    Why wouldn't they be full measure rests also for 2/4?

    Quote from: Flurmy –
    I have a staff with rehearsal marks, comments etc. meant to be overlayed to the top ordinary staff (or the instrument staff in case of a part).
    The problem is that when the top ordinary staff is collapsed the overlayed staff is still visible... alone.
    Yes, this is a nuisance - it kills my concept of having various topmost formatting staves (esp. for breaks at bars) at times. "Overlay with next visible staff" would be a nice feature ...

    Quote from: Flurmy –
    Well, stop for tonight. Bed time here.
    Good morning, as of now!

    H.M.
    344
    General Discussion / Re: With a little help from my friends...
    ... that's why I use only standard rests in the concert pitch score; and introduce MMRs only in the print view, which is created mechanically from the concert pitch score. I think this separation of "working score [staves]" and "printing score [staves]" is quite useful as a "separation of concerns" tool - this is one reason.

    H.M.
    345
    General Discussion / Re: Slurs with rests
    ... and, in addition to Rick's example, a step-by-step that worked for me immediately with your example:
    • Select all chords/notes except the final d;
    • Press ; (semicolon) - the slur will appear above the notes;
    • Select only the first rest-chord and press Alt-Enter;
    • Under "Slur Direction", select "Downwards" and press Enter - the slur is now where you want it to appear, isn't it?
    • (An additional Marker object before the first chord, added with @, can be used to lower the starting position of the slur a little bit)

    H.M.
    346
    General Discussion / Re: Working with *.nwctxt files
    Well, then we agree on quite a few things. However, ...

    ... NWC is, and that's a nice thing, not a software that considers itself as an "open tool for programmers". It is a music editor, with some technical interfaces that sort of do its work for solving some smaller common problems. So we'll, on this front, live with it as it is, I'd assume.

    Those who want to integrate it in the "larger world of processing anything and everything" (be it musically; or technically) will probably skin their knees and elbows, here and there ...

    H.M.
    348
    General Discussion / Re: Working with *.nwctxt files
    Well ... this might be becoming a fundamental debate about transport of information. But in all cases I have seen, the semantics is the much more complicated and interesting part than the syntax. The number of "simple XML formats" that define a catastrophic representation of the actual information is enormous - for example, Microsoft's second Visual Studio format. Having information in a "Tex" format is quite useless in writing a useful algorithm on that information; and, in many cases, I have seen syntactical biases essentially kill the understandability of many formats - many people operate under the assumption that if it saved as as TeX/XML/CSV/relational data, therefore it must follow the concepts of Tex/XML/CSV/rel.data. A famous example of such an ill-conceived format is the use of XML in Ant - a custom language would have been a much better choice.

    ... which is not to say that nwctxt is a highly professionally designed language; but using any other family of meta-format wouldn't have helped in the least.

    H.M.
    349
    General Discussion / Re: Working with *.nwctxt files
    Why "afraid", and "hope"? It's just another text file format - it can be parsed and written like any new format. And it is simple enough to be fully understood from a few dozen example files ...

    H.M.
    350
    General Discussion / Re: Working with *.nwctxt files
    No (to my knowledge; but I have seen a few 100 textual file formats in my life, so I guess I should have recognized a similar one). It's  an "enhanced" "CSV" format, using bars as "commas", commas as secondary separators, : and = as value assignments, and an implicit semantic block structure defined by AddStaff directives. I'd say it's about as adhoc as Microsoft's (old) VisualStudio format.

    H.M.