NWC user Josh sent me some of his compositions for comment. In one, he forced a syncopation by adding rests to the beginning of some staffs, creating unequal pickup bar lengths, like this:
!NoteWorthyComposerClip(2.0,Single)
|Clef|Type:Treble
|TimeSig|Signature:4/4
|Rest|Dur:8th
|Rest|Dur:8th
|Rest|Dur:8th
|Rest|Dur:4th
|Dynamic|Style:p|Pos:-6
|Bar|Style:Double
|Note|Dur:Half,Slur|Pos:-6
|Note|Dur:Half,Slur|Pos:-2
|Bar
|Note|Dur:Half,Slur|Pos:1
|Note|Dur:Half,Slur|Pos:5
|Bar
|Note|Dur:Half,Slur|Pos:-6
|Note|Dur:Half,Slur|Pos:-2
|Bar
!NoteWorthyComposerClip-End
!NoteWorthyComposerClip(2.0,Single)
|Clef|Type:Treble
|Text|Text:"Echo "|Font:PageText|Pos:-9|Color:3
|Text|Text:"ALL TREBLE"|Font:PageText|Pos:-14|Color:1
|TimeSig|Signature:4/4
|Rest|Dur:8th
|Rest|Dur:4th
|Dynamic|Style:mp|Opts:Velocity=65|Pos:-6
|Bar|Style:Double
|Note|Dur:Half|Pos:-6
|Note|Dur:Half|Pos:-2
|Bar
|Note|Dur:Half|Pos:1
|Note|Dur:Half|Pos:5
!NoteWorthyComposerClip-End
The result was a good song for playback, but for display, misaligned bar lines and misaligned beats.
I couldn't make audit bar lines correct for this. It seems that it won't correct pickup bars. Have others noticed this behaviour?
It would be nice if there were an option to audit or ignore the pickup bar.
What happens if you place a Section Open at the end of the pick-up measure and then Audit Barlines?
Using a MRO line doesn't change the audit behaviour. However, that prompted me to try a single bar line to replace the double. That makes a change, but not what it should be.
This:
!NoteWorthyComposerClip(2.0,Single)
|Clef|Type:Treble
|TimeSig|Signature:4/4
|Rest|Dur:8th
|Rest|Dur:4th
|Dynamic|Style:mp|Opts:Velocity=65|Pos:-10
|Bar|Style:Double
|Note|Dur:Half,Slur|Pos:-6
|Note|Dur:Half,Slur|Pos:-2
|Bar
|Note|Dur:Half,Slur|Pos:1
|Note|Dur:Half,Slur|Pos:5
|Bar
|Note|Dur:Half,Slur|Pos:-6
|Note|Dur:Half,Slur|Pos:-2
|Bar
|Note|Dur:Half,Slur|Pos:1
|Note|Dur:Half,Slur|Pos:5
|Bar
|Note|Dur:Half,Slur|Pos:-6
|Note|Dur:Half,Slur|Pos:-2
|Bar
|Note|Dur:Half,Slur|Pos:1
|Note|Dur:Half,Slur|Pos:5
|Bar
|Note|Dur:4th,Slur|Pos:-6
|Note|Dur:4th,Slur|Pos:-2
|Note|Dur:4th,Slur|Pos:1
|Note|Dur:4th,Slur|Pos:5
|Bar
|Note|Dur:8th,Slur|Pos:-6|Opts:Stem=Up,Beam=First
|Note|Dur:8th,Slur|Pos:-2|Opts:Stem=Up,Beam=End
|Note|Dur:8th,Slur|Pos:1|Opts:Stem=Down,Beam=First
|Note|Dur:8th,Slur|Pos:5|Opts:Stem=Down,Beam=End
|Note|Dur:8th,Slur|Pos:-6|Opts:Stem=Up,Beam=First
|Note|Dur:8th,Slur|Pos:-2|Opts:Stem=Up,Beam=End
|Note|Dur:8th,Slur|Pos:1|Opts:Stem=Down,Beam=First
|Note|Dur:8th|Pos:5|Opts:Stem=Down,Beam=End
|Bar
!NoteWorthyComposerClip-End
becomes this:
!NoteWorthyComposerClip(2.0,Single)
|Clef|Type:Treble
|TimeSig|Signature:4/4
|Rest|Dur:8th
|Rest|Dur:4th
|Dynamic|Style:mp|Opts:Velocity=65|Pos:-11
|Note|Dur:Half,Slur|Pos:-6
|Note|Dur:8th,Slur|Pos:-2^
|Bar
|Note|Dur:4th,Dotted|Pos:-2
|Note|Dur:Half,Slur|Pos:1
|Note|Dur:8th,Slur|Pos:5^
|Bar
|Note|Dur:4th,Dotted|Pos:5
|Note|Dur:Half,Slur|Pos:-6
|Note|Dur:8th,Slur|Pos:-2^
|Bar
|Note|Dur:4th,Dotted|Pos:-2
|Note|Dur:Half,Slur|Pos:1
|Note|Dur:8th,Slur|Pos:5^
|Bar
|Note|Dur:4th,Dotted|Pos:5
|Note|Dur:Half,Slur|Pos:-6
|Note|Dur:8th,Slur|Pos:-2^
|Bar
|Note|Dur:4th,Dotted|Pos:-2
|Note|Dur:Half,Slur|Pos:1
|Note|Dur:8th,Slur|Pos:5^
|Bar
|Note|Dur:4th,Dotted|Pos:5
|Note|Dur:4th,Slur|Pos:-6
|Note|Dur:4th,Slur|Pos:-2
|Note|Dur:8th,Slur|Pos:1^
|Bar
|Note|Dur:8th|Pos:1
|Note|Dur:4th,Slur|Pos:5
|Note|Dur:8th,Slur|Pos:-6|Opts:Stem=Up,Beam=First
|Note|Dur:8th,Slur|Pos:-2|Opts:Stem=Up,Beam=End
|Note|Dur:8th,Slur|Pos:1|Opts:Stem=Down,Beam=First
|Note|Dur:8th,Slur|Pos:5|Opts:Stem=Down,Beam=End
|Note|Dur:8th,Slur|Pos:-6|Opts:Stem=Up
|Bar
|Note|Dur:8th,Slur|Pos:-2|Opts:Stem=Up
|Note|Dur:8th,Slur|Pos:1|Opts:Stem=Down,Beam=First
|Note|Dur:8th|Pos:5|Opts:Stem=Down,Beam=End
|Instrument|Name:"[#011]"|Patch:10|Trans:0|DynVel:10,30,45,60,75,92,108,127|Pos:-1|Wide:Y
|Rest|Dur:Half
|Rest|Dur:8th
!NoteWorthyComposerClip-End
I am not complaining, by the way, about the effect on the bars after the first. That's more or less what I expected. It's the failure of audit bar lines to work at all, or its morphing of the anacrusis into a full length bar when the right bar line is used that is a concern.
G'day David,
I think the behaviour we're seeing is correct... In all the multi-part music I've ever seen the pick-up bar length is always the same for all parts, some have rests, others have the notes, but the first full bar always starts at the same spot.
In the case of Josh's composition, I believe that the syncopation should have been achieved by moving the delay into the bars proper.
NWC would have done this automagically if the initial barline in both parts had been a double one, and had been positioned in the delayed part by placing it after the correct number of rests to have lined it up with the first barline of the other part. An audit barlines would have done the rest. Certainly this would have resulted in tied notes across barlines but I believe this would have been correct notation to achieve the desired result.
Interestingly, my friend Alfred has nothing to say about pickup bars other than to define the term "Anacrucis" as an "upbeat" or "pickup"...
I agree, Lawrie.
(Nice icon, by the way.)
I guess it lets you (ahem) toot your own horn, eh?
I got the delay effect from a user tip by Fred Nachbaur that explained how to put echo in a piece.
See here
https://forum.noteworthycomposer.com/?action=dlattach;topic=2418.0;attach=4 (https://forum.noteworthycomposer.com/?action=dlattach;topic=2418.0;attach=4)
Go to staff properties and look how Fred DID IT!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Now Look how I did IT!!!
http://nwc-scriptorium.org/ftp/classical/h/hauchrint.nwc
This is the piece that David was talking about.