Probably an incorrect computation of the times. (I didn't check the source)
Edit: Easily solved: simply muting the first note. But why we get that odd effect otherwise? Exporting to MIDI has no problem. Because in a case the bending starts from 0 and goes to target, then quickly return to 0 while the note is still somehow sounding. In the other case the bendings starts from target and ends to 0. Better think more... sorry.
Possible solution: adding a note off of the starting note before starting the glissato. (positive side effect: no need to mute any note, an annoying task)
More: what if the glissato needs to be the whole length of the tied first notes?
What do those crosses mean? Usually they stands for indetermined pitch sound, in special mode percussive or spoken/shouted. In this case they seem pitched. The instruments are trumpet and sax. For sax it could maybe indicate slapped, but for trumpet?
Having had to deal with a lot of "swings", too many couplets still needed manual adjustment , so I <sligtly modified> my tool. I expanded the number of different patterns automatically tripletized. You can find the new version in the first message of this thread.
It don't mean a thing if it ain't got that swing...
The staccato is only present in the nwctxt, and it stays there even saving the score with a different name. I was unaware of it until I peeked the code.
A friend of mine asked me the same question last week. The only solution we found, excluding using special soundfonts, is to simply lower the volume. Unsatisfactory, I know...
P.S. "Una corda", not "una corde". ("corde" is plural while "una" means "one")
In the Auckland (NZ) zoo, on the fence of the wallaby there is a sign: "Please, when inside take care of your children. They can be dangerous! (the children)" Maybe I have a photo of it.
It is recommended that you use a transparent bar line after the boundary change gap width. This will allow:
a system change immediately after the gap width
the bar line to orphan at the end of a system and not be visible
The system connection will no longer be shown when the gap width is at the end of the staff. The transparent bar line has position, whereas an invisible one doesn't.
So far so good, but I don't understand the example i recorded:
Those info are stored in the registry under HKEY_CURRENT_USER\Software\NoteWorthy Software\NoteWorthy Composer 2\Queue\Find. I don't think you manually mangled the registry. Did you computer have a crash?
Lawrie, since you wrote here that you use transparent bars, can you please remember me what are they useful for? I though I got it but I discovered I forgot all. Probably I never grasped it completely.
Yes, Lawrie, I do that too sometimes when it's most convenient.
For example, with "In the mood" for full orchestra it was much simpler to do that way. Too many staves to copy and modify, in special mode without my tool.
When notating jazz scores it's customary to simplify the tedious continuous swing couplets (triplets composed by 1/4+1/8) by notating them as 1/8+1/8 or 1/8 dotted+1/16. The problem is when NWC plays them; it plays exactly as written. The solution is to create a hidden staff with the real triplets for the sound. Manually changing what usually are a lot of couplets is very tedious. Work for a tool! This tool does indeed right that.
Copy the jazz-standard notated staff to another staff to be hidden. Apply the tool to the latter and at least 98% of the work is done.
The tool can work also on a clip. In that case be aware that it assumes the clip starts at a crotchet boundary; that is: at a beat start.
I think Rick said "it's a bit louder than FF" many, many years ago, so it should not be too recent a change. N.B. Of course, we are discussing about "goat's wool", as we say in Italy. That is, "negligible things"!
I know I can't, though one of my sons claims he can.
I suspect the age has some incidence... My ears cut at about 9 kHz. A friend of mine has a telephone band earings. Another friend of mine, that used to be a bat, now complains a quite reduced band, almost like me.
The sequence is ABDE ABFG ACH. A possible solution is to make special ending 1 = BDE, special ending 2 = BFG and special ending 3 = CH. An alternative I'd prefer is to simply expand the score repeating (copying) the nine bars of the A section.
Let me say the original score could have been written in a clearer way!
I don't fully understood your question but I try to answer. You should be able to do what you want manually. See the attached file. Regarding the user tool "Parts", sorry but I never used it.
I try to avoid such "omni-channel" settings as much as possible.
Omni mode? Vade retro, Satana!
A little bit of data adding to the good explications of Harald and Lawrie.
The MIDI standard does not specify which instrument corresponds to every specific patch number; it was left to the single instrument and you had to check every instrument's MIDI patch table. NWC can help with this if you create an itree list file (*..nwcitree) for each instrument, so you can use mnemonic names instead of pure numbers. As you can guess, it was a big mess with almost zero portability.
Some years later there was an agreement and the GM (General MIDI) was born. This standard specifies the basic correspondence between the patch number and the instrument sound for the bank 0 - 0 (the default) so a violin sounds a violin every time a patch #40 is selected (at least for bank 0 - 0). Good. It also stated that the channel 10 must correspond to the drum kit. (Some old instruments used channel 16.) In the early instruments you had to set them in "GM mode"; now, since a long time, this is the default. So NWC defaults to "General Midi.nwcitree" and this is what you see when you click "predefined instruments", unless, of course you select a different .nwcitree. That possibility is still present.
But, as Harald wrote, sometimes you need a sound not present in the General MIDI, so Roland created the GS "standard" and Yamaha created the XG "standard" exploiting the banks different from 0 - 0. Usually there is a logic behind that. For example: patch number #49 bank 0: "String Ensemble 1"; bank 3: 'Stereo Slow Strings"; bank 8: "Legato Strings"; bank 40: "Warm Strings"; bank 64: "70's Strings"; bank 65: "String Ensemble 3" etc. I think you got the idea. "Standards"? Ehm...
Many years later arrived the GM2 that "borrowed" the bank 1 from GS and tried to include also something from XG. It also clearly states that, if your instrument hasn't any specific patch for that bank, then the bank 0 must be used, instead of being silent as often happened before... And this is where we are now.
A last note: the patches of the channel 10 (drum kit) don't change the single "intrument" but change the whole drum kit.
Oh, yes. But you're quite modern! Do you remember when the floppy disk were... well, floppy? Each package of floppy disks contained a bag with the labels to stick on them and some adesive strips to put on the dent in the right part of the floppy to make it read.only, The exact same function of the sliding tab of the "plastic floppies" you described.
And do you remember when you could "double" the capacity of a "single side floppy" by cutting a dent in the left part of the floppy and then inserting it upside down in the drive? (Typical of the Apple IIe 5"-1/3 floppies and previous computers with 8" floppies)
Absolutely useless for the matter in discussion. This "protection", present since the DOS, was inserted for different purposes. You can remove it without any problem. The PDF files have the possibility to make them "read only", but even that...
Reviving an old question with a slightly different request: how can I use two TremoloSingle objects on the same split chord? The best a could get (except, of course, using layering) is cheating using text and MusicDingSans as "User 1" font as in the second bar but, of course, no sound.
Since adp_TransposeChords.php is old and transposes only chords entered as text items, I created this tool to transpose the chords entered as ChordPlay objects.
Please remember that normally the ChordPlay objects are automatically transposed when you transpose the staff, so no special operations are needed. With this tool you can transpose only the ChordPlay objects as requested here.
You can specify on the command line the number of semitones by which to transpose che chords. If no parameter is specified, the number of semitones will be asked each time the tool is run.
N.B. this tool explicitly ignores the autor of the ChordPlay plugin, e.g. .nw, .lp, .fl, ... and handles all its possibile "flavours".
Lawrie's version implements my changes, not the other way round. Sorry, Lawrie! But I made some more additions on a newer but unpublished version building on Lawrie's work, and this was what fooled me.
Unpublished because basically I added more different ways to write chords (in Europe, or at least in Italy, we often use chords written quite differently from what was expected by the original plugin). Furthermore, I added the conversion text-> chordplay also for "solfeggio style" chord names, but it seems there is little request for "solfeggio style" tools.
I didn't change the plugin name because, as I wrote, my updates should be perfectly backward compatible. Unless, of course, you enjoyed the bugs that are corrected!
But I am most familiar with object coding; tools were never my strong point.
Tools are much simpler than objects; you're not tied at all to the NWC APIs. But the tool adp_TransposeChords.php is in php and, beside never having really grasped php, I'm now... well, rusty!