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Messages - hmmueller

101
General Discussion / Re: Up and Down beams on same set of notes
Well, then:
Code: [Select · Download]
!NoteWorthyComposer(2.751)
|Clef|Type:Treble
|User|Markup.rg|Pos:-5|Markup:/x4.3/m2.98/a0_
|Chord|Dur:8th|Pos:3|Opts:Stem=Up,Beam=First|Dur2:4th|Pos2:-1
|Spacer|Width:200
|Chord|Dur:8th|Pos:3|Opts:Stem=Up,Beam=End,XNoteSpace=0.1|Dur2:4th|Pos2:-1
|User|Markup.rg|Pos:-4|Markup:/x2.7/m2.9/a-3.5__
|Chord|Dur:16th,Slur|Pos:5|Opts:Stem=Up,Beam=First|Dur2:4th,Dotted|Pos2:0
|Note|Dur:16th,Slur|Pos:4|Opts:Stem=Up,Beam
|Note|Dur:16th|Pos:3|Opts:Stem=Up,Beam=End
|Chord|Dur:16th,Slur|Pos:5|Opts:Stem=Up,Beam=First|Dur2:4th,Dotted|Pos2:-1
|Note|Dur:16th,Slur|Pos:4|Opts:Stem=Up,Beam
|Note|Dur:16th|Pos:3|Opts:Stem=Up,Beam=End
!NoteWorthyComposer-End
I like your (and NWCs) nonchalant ignorance of note lengths in the second voice - "quarters/crotchets for everything"! An interesting idea to get rid of those flags ...

H.M.
102
General Discussion / Re: Up and Down beams on same set of notes
Quote from: Warren Porter –
I am trying to beam the eighth (dotted) notes in the following snippet:
...
Can this be done with an object now? I don't want to add a hidden staff if at all possible.
I am quite sure it cannot be done with an object in practice - because shortening only the stems of the dotted eighths is not possible (if you reduce the stem length to 0, also the sixteenth's stem vanishes). But with a non-vanishing stem, the flag remains visible - so no beams.
(Formally, you could use some text object to "white out" the lower stems and flags; and then apply a beam object. I cannot believe that you would want to do this).

H.M.
104
General Discussion / Re: Convert file in NWC to Midi format
Quote from: David Palmquist –
hmmueller FlurmyNWC2 will export to Midi type 1. 
How?? If I export a multi-staff score, I always get files that look like this (this is from a 10-staff score of J.Rutter's Candlelight Carol, where I added a flute voice, among others):
Code: [Select · Download]
0, 0, Header, 0, 1, 192
1, 0, Start_track
...
1, 61632, End_track
0, 0, End_of_file
with no other track markers in between. The three "data words" are 0, 1, 192, which indicate the type, number of tracks,  and tim division. In MIDIs exported from NWC, I have never seen anything else than "Header, 0, 1, ..." here, i.e., a type 0 file.

And I am very happy that NWC exports type 0 files. For my purposes - crank organ controlling and  other "technical things" -, having all events already ordered by time in the MIDI file is very helpful. Wth a type 1 file, I'd have to collect all events and sort them with some helper program. MuseScore, for example, only exports type 1 files - a pain in the ass for such usages. I have never had any use for a multi-track file; simple separation of staves by channel is fine for me and my DAWs.

H.M.
105
General Discussion / Re: How would you play this?
I'd say:
- If this was written with some software, someone just forgot to remove the flat symbol after a copy-paste of the first note, and then connecting them with a tie; or after redoing the line breaks (i.e., in a previous version - or in the complete score??!*), the second note might be on a new line.
- If this is a "old times punched(?)" score, I would still think it's simply an error.

(Historically, the French - I think - actually repeated the accidentals in ties over bar lines; but then, they did it consistently).

* Probably this makes most sense: In the full score, there IS a line break here, so the flat on the second note makes sense. In the part, there isn't a line break, but either the software cannot switch on/off accidentals depending on which part is printed; or if it can, someone forgot to set the switch in the part.

H.M.
106
General Discussion / Re: Convert file in NWC to Midi format - Delays not exported
... however, there is a problem with MIDI export: Delays of Breath marks, Fermatas and Caesuras are ignored.

In the attachment, there is an example MIDIWithoutDelays.nwc. The length of a quarter is 192 ticks, hence a sixteenth has 192/4 = 48 ticks. The lengths of the notes and the pauses in between therefore should be:
Code: [Select · Download]
1st quarter = 192
1st pause   =   0
2nd quarter = 192
2nd pause   =  48 (because of the Breath mark with Delay 1)
3rd quarter = 192
3rd pause   =   0
4th quarter = 192 + 2 x 48 = 288 (because of the Fermata with Delay 2)
Actually, the MIDI ticks (second column) are as follows:
Code: [Select · Download]
1, 0, Note_on_c, 0, 60, 110
1, 192, Note_on_c, 0, 60, 0     // 1st quarter             = 192
1, 192, Note_on_c, 0, 64, 110   // 1st pause = 192 - 192   =   0
1, 384, Note_on_c, 0, 64, 0     // 2nd quarter = 384 - 192 = 192
1, 384, Note_on_c, 0, 67, 110   // 2nd pause = 384 - 384   =   0 !
1, 576, Note_on_c, 0, 67, 0     // 3rd quarter = 576 - 384 = 192
1, 576, Note_on_c, 0, 72, 110   // 3rd pause = 576 - 576   =   0
1, 768, Note_on_c, 0, 72, 0     // 4th quarter = 768 - 576 = 192 !
The only method I know how to get such delays correctly into the MIDI file, is to change the tempo, which is not always easy.

H.M.
108
General Discussion / Re: So, what?
I am not sure what could be a "more formal explication": Musical notation is either agreed on from quite old times (the center note after a treble clef is a b, for everybody), or it is custom in some community or among larger publishers (which might be written down, e.g. by Elaine Gould - but it's still custom). There is no "specification body" who would decree anything ...

Re the 3/4 to 2/4 change: There is a famous song "Es kommt ein Schiff, geladen" from the early 1400s which in the middle changes from three beats to two beats. The feeling, and the correct notation, is "alla breve". Typically, the first part is notated as 6/4, the second as 2/2 (or a C with a vertical bar), and at the change, it is indicated that a dotted half on the left equals a half on the right. About 70% of the conductors get this right, the other ... well ...

As for the Strawinski, I can only guess that in the "wider range of this composition", Strawinski or his editors thought that there might possibly occur a misunderstanding: Is there a time change with a different behavior in the same piece (but e.g. some other movement)? or in another of Strawinski's compositions of this time? or in the kind of music he was studying then (old music, probably)? One of these might explain the asserting notation at this place.

H.M.
109
General Discussion / Re: Back up question amid heartbreak
Quote from: SEBC –
Harald, I tried to download the print configuration object, but was told "attachment not found". I had missed your post on it earlier this year. I'm in the middle of a PhD so don't get to read the forum posts as often as I would like.
Mhm - maybe you tried just in the few seconds when I replaced version 0.4 with 0.5 - I just tried it, it worked. All the best with PhD-ing!

H.M.
110
Object Plugins / Re: PrintConfiguration (0.5)
I have uploaded version 0.5. With it, it is possible to change the name of a staff from e.g. "soprano" to "voices/soprano" without having to update all PrintConfigurations - the identifying name for a PrintConfiguration is what comes after the (first) /.

This is useful if one wants to add a PrintConfiguration to an existing staff; and then rename the staff so that the name shown in the Apply and Save user tools indicates the PrintConfiguration.

Example: Assume there are staves R.H. and L.H. in a piece with other instruments, you might want to put the PrintConfiguration for the piano part on the R.H. staff. But now, you'd like to rename the staff so that it shows up in the Apply/Save tools as "Piano part".

Solution: Rename the R.H. part to "Piano part/R.H." - this is the name that will be seen in the tools, but still, any PrintConfigurations referencing the staff as "R.H." (e.g. a complete score) will find the staff.

Of course, if one consistently uses a "top control staff" for each part print, this is not necessary - but doing so for smaller parts has also its (complexity) problems ...

H.M.
111
General Discussion / Re: Back up question amid heartbreak
After struggling with parts for some years, I wrote the PrintConfiguration.hmm object; and now use it always for parts handling. In the attachment is a recent score which shows 5(!) print configurations:
  • complete score
  • voices on 4 pages (was too small)
  • voices on 5 pages (somewhat cramped)
  • voices on 7 pages (many pages ...)
  • piano and solo voice
After making some (smaller) change in the score, it's usually 5 minutes to create all 5 PDFs anew ...
And yes, I typically use an invisible, single line "top control staff" for a print configuration, so that I can control system breaks and PageTxt objects for each print separately (but not always ... see piano+solo print configuration in the example, where I just use the solo voice staff as control staff; out of laziness).

H.M.

112
General Discussion / Re: Minimum intervals with dotted notes
There's also the option "Layered Lower Voice Dot Placement" in the Staff Properties to help with such things. But the result might or might not be what you want - see the attached score and images.

H.M.
114
General Discussion / Re: not loud enough
Quote from: Lawrie Pardy –
So, what happens to the MIDI stream if you actually put a tempo marking in?  Maybe prior to, say, the time signature?
Do you still need a rest to get the "O" to show in vanBasco?  (do ya like the rhyming?  :))  )
The attached NWC file yields the following MIDI:
Code: [Select · Download]
0, 0, Header, 0, 1, 192
1, 0, Start_track
1, 0, Text_t, "By <Name>"
1, 0, Copyright_t, "Copyright © 2022 <Name>"
1, 0, Copyright_t, "All Rights Reserved"
1, 0, Text_t, "Generated by NoteWorthy Composer"
1, 0, Lyric_t, "O "
1, 0, Tempo, 500000
1, 0, Control_c, 0, 7, 127
1, 0, Control_c, 0, 10, 64
1, 0, Key_signature, 2, "major"
1, 0, Tempo, 495867
1, 0, Time_signature, 4, 2, 24, 8
1, 0, Key_signature, 2, "major"
1, 0, Time_signature, 4, 2, 24, 8
1, 0, Note_on_c, 0, 69, 110
1, 160, Note_on_c, 0, 69, 0
1, 192, Lyric_t, "there'll "
...
BPM 121 is encoded in MIDI as "495867". And the O is still before all  those signatures ...

O, show, vanBasco - what a flow of rhymes, bro!

Quote from: Lawrie Pardy –
BTW, what MIDI to Text tool are you using?
midicsv and csvmidi from fourmilab.ch.

H.M.
115
General Discussion / Re: not loud enough
Software ... has it bugs, or at least "specificational problems". I wrote the first measure of your song (see attachment FranksO.nwc), exported it to MIDI and converted it to text. The result is:
Code: [Select · Download]
0, 0, Header, 0, 1, 192
1, 0, Start_track
1, 0, Text_t, "By <Name>"
1, 0, Copyright_t, "Copyright © 2022 <Name>"
1, 0, Copyright_t, "All Rights Reserved"
1, 0, Text_t, "Generated by NoteWorthy Composer"
1, 0, Lyric_t, "O "
1, 0, Tempo, 500000
1, 0, Control_c, 0, 7, 127
1, 0, Control_c, 0, 10, 64
1, 0, Key_signature, 2, "major"
1, 0, Time_signature, 4, 2, 24, 8
1, 0, Key_signature, 2, "major"
1, 0, Time_signature, 4, 2, 24, 8
1, 0, Note_on_c, 0, 69, 110
1, 160, Note_on_c, 0, 69, 0
1, 192, Lyric_t, "there'll "
1, 192, Note_on_c, 0, 68, 110
1, 286, Note_on_c, 0, 68, 0
1, 288, Lyric_t, "be "
...
One can see that Noteworthy emits the "O" syllable very early in the MIDI file, before the tempo, key, and time signatures. I don't know whether this is ok by a MIDI or Karaoke file standard, but it seems that the vanBasco player does not like it.

I tried what happened when one puts a rest at the beginning of the score - see the FranksOWithRest.nwc attachment. Voila, it works - the MIDI starts now as below, with the O after all these "signatures"; and vanBasco shows it as expected:
Code: [Select · Download]
0, 0, Header, 0, 1, 192
1, 0, Start_track
1, 0, Text_t, "By <Name>"
1, 0, Copyright_t, "Copyright © 2022 <Name>"
1, 0, Copyright_t, "All Rights Reserved"
1, 0, Text_t, "Generated by NoteWorthy Composer"
1, 0, Tempo, 500000
1, 0, Control_c, 0, 7, 127
1, 0, Control_c, 0, 10, 64
1, 0, Key_signature, 2, "major"
1, 0, Time_signature, 4, 2, 24, 8
1, 0, Key_signature, 2, "major"
1, 0, Time_signature, 4, 2, 24, 8
1, 768, Lyric_t, "O "
1, 768, Note_on_c, 0, 69, 110
...
So a workaround is putting in a leading full rest and make it invisible. If you don't want to wait for all of it when playing, you could put an invisible tempo of quarter=750 (Noteworthy's maximum tempo) before the rest; and then of course a tempo marker for your intended tempo after the rest.

Yes, it's tricky sometimes ...

Re multiple verses, I added another one (see FranksOWithRestAndTwoVerses.nwc attachment) - at least for me, vanBasco played both texts from an exported MIDI (which I would expect, as Noteworthy simply exports one verse after the other ...).

H.M.
116
General Discussion / Re: not loud enough
Quote from: FrankSit –
How can we do it with our Noteworthy Warren, could you educate me how to do it? Could you attached here the sample that you made?
I didnt know about vanBasco - I tried it:
a) Install the player from http://www.vanbasco.com/download.html and start it
b) Export your NWC score as MIDI (File->Export... -> store MIDI at some place)
c) Open file in vanBasco (This Computer -> ... wherever you stored the MIDI
d) Press "PLAY" in the player window
... and off we go!; the text is shown and nicely highlighted.

(It seems to have problems with UTF-8 chars ... my umlauts were garbled ... I can live with this).

H.M.
117
General Discussion / Re: not loud enough
What is your method of recording? Do you create an MP3? - with tools like Audacity etc. you could increase the volume until short before overmodulation ...

H.M.
118
General Discussion / Re: Placing bracket to embrace the 4 Staffs
Quote from: FrankSit –
Do you have any idea what instrument is best for Soprano, Alto, Tennor and Basss?
For our choir, I use

- Viola (for S and A) and Violoncello (for T and B) (both under Strings) for rehearsal/learning voices;
- Voice Oohs (under Ensemble) for the other voices.

I have found that this helps people to hear their voice even when they sing along. Our choir has been more or less happy with my choice over the last 6 or so years.

Other people use saxophone or other wind voices for rehearsal, but making them loud enough, but not too loud is quite a problem, I think.

H.M.
119
General Discussion / Re: Placing bracket to embrace the 4 Staffs
Hi Frank -

Quote from: FrankSit –
Is there any effect on the sounds if we do not put the bracket in front of the 4 staffs?
No. The bracket is purely optical.

Quote from: FrankSit –
I tried to put Andante and Note on each staff, worrying that would be any effect on sound if I do  not put it.
Andante is just a text to indicate the tempo; it means "walking" in Italian: "Play so that it matches a nice stroll". It doesn't do anything with the sound.
And as all staffs need to play in the same tempo (otherwise, the nice harmonies would not at all work!), such tempo indications are always only placed above the first staff.
Lastly, if you put in a real tempo marker (by pressing T), you would also put in only one, typically in the first staff (although in NWC, you could do it on any staff).

Quote from: FrankSit –
How can I write the Soprano..Alto, Tenor, Bas in front of the staf, Can I?
Put your cursor in the staff and press F2 - there, go to the "General" tab, where you can add a "Staff Label". To see them, you must also go to "File > Page Setup" and in tab "Options" under "Staff Labels" select "First System" or "All Systems"

Quote from: FrankSit –
My question is. When we play soprano, it will highlight the note and word as it is playing. Is there any way to make only highlighting the soprano, so that people can see the video, that is is the sound of Soprano. Or anyway to hide the other 3 staffs during the demo of the soprano?.
Press M - like "mute": There you can select the staffs that should NOT be audible on the right.

I hope that helps!

H.M.
120
General Discussion / Re: slur and chords
Quote from: lawrroc –
Unfortunately, the same cannot be said for the "tie" function. It cannot be moved and sometimes it overlaps with slur or other ties.
"That's life, or at least this software". Only meta-advice from me:

a) Scenario 1 is "I want to write scores for reading" (and not playing via MIDI/listening): Then, don't use ties in these cases; replace them with slurs.
There are special problems at line breaks, but they can be approximately solved with headless+stemless grace notes - see attachment, which doesn't fully solve them - there's some more trickery needed.
One problem here is that listening is often a helpful proof-reading tool - in this case, you need to ignore the separated notes you will hear.

b) Scenario 2 is "I want to hear the right things = ties need to be ties". I only know the solution to have a separate invisible staff for the sound - only there you use ties; the visible staff is done as in a scenario 1.

H.M.
122
General Discussion / Re: Ties Obscuring Notes
Sorry - I was away for a day from the internet (playing organ in the church and keyboard with a pop cover band in a Bavarian biergarten :) ...).

Ad 1. For "Layering", the following checkboxes and commands are helpful:
a) In the "View" menu, there is an option "Layering in Edit Mode"; I prefer it to be unchecked, so that I always see layered staves separately ("unlayered") while editing. When I want to see the layered effect, I simply press F11 ("Viewer Mode"); and press it again to get back to Edit Mode. I think this is what you ask for.
b) In a score's"Page Setup" (Alt-F G), in tab "Contents" there is a check box "Allow Layering" under the "Groups" list, which needs to be checked for layering. I have it checked in all my scores (even if I don't need layering now - I might need it later).
c) In each staff that should be layered with the next one, in the "Staff Properties" (F2) "Layer with Next Staff" needs to be checked.

Ad 2. Unfortunately, there is no way to change the form of a tie. The only way I see is to leave the ties away and replace them with slurs:
a) Either NWC slurs, whose ends can be shifted a little with "Markers" (@, on the keyboard).
b) Or with Mikes "cubic slurs" (SlurCubic object), which gives you more control, e.g. over the height of the curve and its thickness ("strength").
I have added a score where I use a) in measure 3 and b) in measure 7.

Of course, removing the ties changes the playback sound. If you need to "repair" this, you can either
- add the notes invisibly on the second staff with ties; and mute the un-tied notes on the main staff. This is what I did in the attached score; or
- add another complete staff which is always invisble (I put it into a Contents Group "Sound", which I leave unchecked in the "Contents" tab of the Page Setup). This staff contains the sounding notes, as a suitably changed copy of the main staff, which is then completely muted (in staff properties' "Midi tab" check "Muted"). This is what I often do, because I also want to change note lengths and articulations etc. anyway for better playback.

H.M.
123
General Discussion / Re: Ties Obscuring Notes
At some point, one has to introduce a layered staff - see attachment WhenTheShadowsFleeAway_LayeredStaff.nwc.

Musically, I'm somewhat flabbergasted by a "Duet" having three voices at times - who sings these fill-ins? And notationally, there a few hiccups, or things I'd do differently. I have added another score called WhenTheShadowsFleeAway_LayeredStaff_Hints.nwc, which hightlights these in red. But all of them - with the exception of the superfluous bar line - are "just my personal opinion"!

H.M.
124
General Discussion / Re: Note in number
Interesting problems! In the attachments is an attempt by me. I edited the following text after 2 hours, because of more dots  ;)
  • For the numbers and dots, I use a separate staff with notes that (a) have invisible heads (Q B on the keyboard) and (b) overridden stem lengths of zero (in the properties dialog of the notes). All the invisible notes on this staff are quarters or shorter, so that dots can mark the beats [I forgot them in my 1st version]. If necessary (c) "Extra Dot Spacing" of -1 (minus one) can be added to notes, which makes dots invisible.
  • For flat and sharp, I use the letter b and the hash mark # - they are not the really correct symbols, but placing the real symbols correctly would be a nightmare, in my opinion; I hope these two are good enough.
  • There are three lyrics lines on that staff with "Alignment" set to "Top":
    - "Lyric 1" is for the dots above the notes (up-octave shifting); if there is no dot, an underscore _ prints a blank;
    - "Lyric 2" is for the numbers themselves; they are shifted to the right with _ for notes with accidentals (the number is behind the b or #)..
    - I assume that "octave-down" is marked by a dot below the number, so I have added a "Lyric 3" line with special "high dots" - see last note as an example.
  • The bar lines on the number staff are text items which contain a simple vertical bar; they are aligned with Justification=Center and "Alignment/Placement"=At Next Note/Bar.

For your Youtube questions, I do not (yet) have good answers. As an example which I did, see this canon. If this is about what you want, I could explain how I make it.

H.M.
127
General Discussion / Re: Insertions resize
Hi Lorenzo -

no, you cannot change the sizes of these items. And if you enter them only as text, playback (and MIDI export) will not know about them.
But, instead, you can add them, then make them invisible*, and put texts near them, with manually adjusted
  • size
  • text adaption
  • even font (but typical font for all the items you mention is "Staff Italic")
See attached example.

* Steps with keyboard to make something invisible: Shift-Right or Shift -Left to highlight, Alt-Enter for Properties dialog, Ctrl-Tab (I use the small finger on the left-hand Ctrl key and the fourth finger to press Tab) twice, N to change "Show on printed" to "Never", Enter to close dialog.

H.M.
128
General Discussion / Re: MPC
Different MPC controllers have different ranges (and other values). If you open the MPC dialog, fold out the combobox for selecting the controller and then leaf through the controllers with cursor-down/up, you can see that the ranges change for the first few (all the lower ones have a 0...127 range).

And yes, "Volume" has a range of 0...127, and a default value of 64, even though the default channel volume for a staff (Midi tab in Staff Properties) equals 127 - which is a little inconsistent.

H.M.
129
General Discussion / Re: to edit chord member
Under "Help --> Keyboard Reference", you find a list of all what you can do in NWC with the computer keyboard. Some in this long list, you find:

Ctrl+Backspace - Deletes the chord member just behind the insertion point [what is meant: to the left of the insertion point]

I find it useful to try all these 117* commands once in a trial score - not only for beginners, but also advanced users: There's always something I have forgotten, or some concept I haven't used for a long time.

* In version 2.75a.2, which I use.

H.M.
130
General Discussion / Re: 3 Notes in a layered staff
I am quite sure this is an error (in an SATB score): The A's in the upper chord are against standard harmony rules ("do not double the third") and useless (no-one will hear them against the A in the bass, an outer voice).

H.M.
131
General Discussion / Re: is it slur or tie
In choral writing on separate staves, you will always have the stems oriented into opposite directions. I wrote the first line of your song like that (using my choral template) - see attachment ChoralA.nwctxt; with a screenshot of the editing windows in ChoralA_Edit.JPG. If you press F11, you get a view that is near to the print result - see ChoralA_F11.JPG (of course, you can also use Alt-F V to get a print preview).

To orient the stems, highlight all the notes on a staff (go to the beginning and press Ctrl-End), and then press Ctrl-Uparrow to force all stems pointing upwards, or Ctrl-Downarrow to force all stems downwards (if you press the same keys again with notes highlighted, the stems will "forget" the forced orientation and "behave as usual" - some up, some down).

Four remarks:
  • The slur at "mansions" should be above the noteheads, i.e. on the same side as the stems. NWC, by default, puts it opposite the stems, so you have to change that in the note properties ("Slur Direction: Upward");
  • At the end, I made the soprano and alto voices cross each other; I don't know whether this is so in your score, but just for demonstration I added it, and marked the two notes in the soprano voice with a different color: The stems have to show which voice sings which notes, by going "the other way". In such cases, it is customary to offset the two notes by a tiny distance so that is optically clear which stem goes to which head - see ChoralA_CrossingVoices.JPG. Sometimes, this is tricky - as with the dots on the "thee" notes, where I tried to slip the upwards stem between the note and the dot of the B, using an "Extra Note Spacing" of 0.1.
    An "Extra Dot Spacing" of 0.1 on the B in the alto staff would be even nicer (I forgot it), as the two dots are then again aligned exactly above each other.
  • Do not repeat the lyrics on staves that are layered - you will get muddled text, as in your example at "mansions". Use the staff with more notes, if possible; and/or adjust lyrics with _ (underscores) which are shown as spaces.
  • The beginning of my choral template has a number of various user plugin objects - just ignore them, or check them out :-) (one of them is a BarCounter.hmm, which puts measure numbers at every second bar; I find that very helpful in rehearsals, because no-one has to do this "counting from the left margin", which only wastes time; I learned that from brass band scores).

H.M.
132
General Discussion / Re: is it slur or tie
Quote from: FrankSit –
How do I differentiate between the slur or tie
Very short answer: If the "curve" connects exactly two notes of the same "pitch" (notes on the same height in the staff) and there is no rest or other note between the two, it's a tie. Otherwise, it's a slur.

There are exceptions to this (with tied chords; and sometimes equal pairs of notes with a slur), but they are quite rare; and not used in vocal music, exactly because they might be confusing.

H.M.
133
General Discussion / Re: Screen capture of Player crashes near end.
With "Scrolling note chase" on, I can reproduce this with some widths of the player window, but not with others. I'd say this is an algorithm problem in NWC, which for some values of window width and chasing position does not compute a monotone sequence of viewing positions (could probably be repaired with a single "if", essentially "dont jump back, unless flow says so"; but wont happen).

Thus, work around: Try it with a Viewer window that is a little narrower.

H.M.
135
General Discussion / Re: Insert text
Quote from: Lawrie Pardy –
This means that a user tool like Global_Mod could probably also change it (the POS).
I wonder what the datastore limit is...

I tried a 4 pt staff on an A0 page (about 1,40 m height, more than 4'): Position -6800 at the very bottom was nicely printed on this 1 m² page. I don't see why a Position value of e.g. -1,000,000 on a 1 km² page wouldn't also work perfectly  :D For a technical limit, integral numbers in programs usually are limited to about plus or minus 2^31 = about 2 (US) billion; but floating point numbers can represent more than all of the known universe ...

H.M.
136
General Discussion / Re: Insert text
Actually, you can place a text at e.g. Position -120 - see attached example: Write -99 into the "Position" field, press OK. Then, highlight the text (Shift-arrow), and now you can shift it down further with Ctrl-Shift-Downarrow. The file with this "out of bounds" text can be saved, opened and printed without problems. The only limitation is that you cannot easily modify (e.g., correct) the text, as the dialog will then tell you that -120 is out of bounds - so you have to write -99 in there again and then shift it down as above once more.

... but of course, that's more of a bug than a feature, I'd say.

H.M.
137
General Discussion / Re: Measures number
For full flexibility (jumping measure numbers inside score, suffixes, numbers every 2, 4 or 5 measures, excluding numbers [as they collide with something], etc.), you can use the BarCounter.hmm plugin. By default, it should work like the standard NWC measure numbers (e.g. it knows about bar lines that are "eXcluded").

A somewhat absurd example is attached - I wrote it like that because on the piano, I then need only two pags; the singers use their full score running over six pages, with contiguous measure numbers.

H.M.
138
Object Plugins / Re: Breve.hmm (0.6)
Version 0.6 shows some more or less explanatory symbols if the subsequent semibreves (whole notes) are missing or dont have blank heads; I, as the author, was astonished when "nothing" was visible (and, of course, too lazy to read the help text). Maybe this helps to trigger someone using this and seeing nothing to look in the help ...

H.M.
140
General Discussion / Re: Very long measure with speech
"Just write it" - see my attached attempts (I wrote only the lower two staves). Hidden rests extend the upper "long measure" to the same length as the one in the basses - this is the first "trick". The hidden rests before and after the whole rest have different lengths, so that the whole rest is placed nicely above the eighth rest of the basses where you want it.

(There are a few things that differ from the original: missing double beams - two layered staves would help, or a Beam.hmm object; breve - I use the symbol from NWC's font; single eighth rests in last measure; no slurs; and probably a few more. Two layered staves for your center staff would also allow the lyrics jump up and down as in your image. But I hope these are not things you asked for).

However, there is a problem with the lyrics alignment, which should be left-aligned on the breve. The two attempts use different methods for this:
  • Attempt 1: I use "Align Syllable Using" --> "Start of Accidental/Note", so that the "Tremens ..." lyrics aligns correctly; but you might not want this for all the other lyrics.
  • Attempt 2: "Standard Rules" for syllable alignment; I put two semibreves (whole notes) with invisible head under the breve and assign the lyrics only to the second semibreve (i.e., the first one has property "Lyric Syllable" set to "Never"). This roughly places the lyrics correctly - adding a spacer between the two should allow for fine-tuned placement of the lyrics under the breve.

I hope that helps, or gives some ideas.

H.M.
142
General Discussion / Re: Support is DEAD
It might, with time, be worth to find out what's going on with Noteworthy Software, Inc. On the internet, one can find an address and a telephone number (in North Carolina), and a "principal" by the name of H.B.Zimmerman. Has anyone already tried to, amically, ask about the prospects - short- and longer-term - there?

H.M.
143
User Tools / Re: NWCCONVERTOR
Ah - and the "grey" rest I see in MuseScore is added by that program, when it sees that a measure is not "full length" (because it is one of those typical "rigid measure-length" programs). Understood. Ok - then it is what it is. Thx.

H.M.
144
User Tools / Re: NWCCONVERTOR
Thank you! - works!

What is a little strange: In m.6, in the S./A. staff, there is a "hidden? eighth rest" - MuseScore shows it in light grey. This pause is not converted into the nwctxt file, so that from there on, all the bar lines are shifted by one eighth. Could such "grey"/"hidden?" rests also be converted?

H.M.
145
User Tools / Re: NWCCONVERTOR
Bach worked! - but here is my next problem :( ... attached below as a ZIP. It says KeyError: ('P4', 2, '1') ...

H.M.
146
General Discussion / Re: Staff Spacing Problem
A solution is to put the single-line chorus lyrics into the second verse.

The reason for this behavior is apparently that the position of the lyrics is computed as follows:
- First, the height of the complete lyrics is computed - it is "Line Count" times "Line Height"; in your case, "2 Lyrics lines" times "14 pt line height".
- The first line of the lyrics is then written at the corresponding height above the lower boundary of the staff; if that boundary is raised by a Boundary object, all the lyrics lines are also raised.

Morale: It seems that one must "think the lyrics lines bottom up", i.e., not the first line has a position defined by various boundaries, but the last one. The "lyrics line grid" is not fixed at the upper (first) line, but "jumps up and down" according to the boundaries. And therefore, one must place text parts in this "jumping grid" at the right places to get the desired effect.

Edit: Lawrie, I think, found the right rule: On staffs with lyrics lines, always only change the upper boundary.
I have attached a version with two Boundary objects right at the beginning that does that. Is this ok?

H.M.
148
General Discussion / Re: Formatting a Song With Verses, Chorus, Bridge, etc.
This is "just so", "has always been like that". And it's why I wrote the NonFlowBar object ...

Edit: Shouldn't believe everything ... As Lawrie writes, it seems to work fine, also in my 2.75a.2. But your double bars indicate that somehow section 2 ties to the coda - which isn't so according to the flow controls. There's something off here ...

H.M.
149
General Discussion / Re: Staff Spacing Problem
Bart had (and proved) the same idea as I, at almost exactly the same time instant. And I must say that his rule

Use
  • the staff properties for a good editing view
  • Boundary objects to adjust the print layout

is very easy to remember and apply.

Also, I think, one should make use of Boundary objects only in the staff with lyrics: This also keeps the modifications managable.

Then, the Boundary object controlling the largest distance may be a "Reset" Boundary. This somehow contradicts Bart's rule, as now a change of the staff size (purportedly to be used only for editing) also controls the print layout. However, as this is the default behaviour we are all used to, it might actually be "more expected".

Finally, looking at the small arrows of the Boundary object is actually helpful, I have found: Adding a hypothetical horizontal line to them helps to understand the result somewhat better. Unfortunately, the arrow tips are too small, in my opinion and for my aging eyes - but so it goes.

H.M.
150
General Discussion / Re: Staff Spacing Problem
Here is my attempt - I think it "simply" follows the principle "keep it simple"  :)

The idea is to "repair" (with Boundary Changes) just the parts without lyrics. Is the result roughly what you want?

As a side note, I'd suggest to use slur markers to "flatten" the long slurs - I have added a few in m.3 and 5 of the upper staff.

H.M.