It was played at my last wedding, more than 29 years ago in Oakland, CA. It was also played at Rockefellar Chapel in Chicago for my brother, Jeremy's, first wedding. I played the 72 bell carillon for that one.
The problem with using invisible clef signs, is that there are no clef signs until made visible again. I think a better solution is to enter 8va and loco as text, and use instrument properties to shift transposition by 12 for the passage.
I just copy the staff with the fewest notes and set it to play the desired instrument, mute everything, and make it all visibility never except for changes in time signature. Add the notes you want in the appropriate measures, with default 0visibility and unmuted. If you need to, make text and other changes visible, and replace notes with rests.
[4[size=3 60pt]color=blue]If you want to transpose a group of notes, copy them to a new staff; use the transpose tool, and copy them back, replacing the old notes. [/color]
Don't forget to add the proper clef sign and key signature.[/size]
I forgot to mention that the chords refer to traditional hand positions, not to the actual chord produced, which is altered by the use of a capo or scordaturo tuning.
Thanks to all for your help. The problem was the discrepancy of bar lines. I should have caught that. Frances is a fine guitarist, former opera singer, and teaches composition and creative writing at a college in Florida. She is a former Finale user. I introduced her to Noteworthy last September. I am publishing an oratorio which she has written and I will conduct it this Father's Day in Spokane at the church where Father's Day started.
Interpretations vary, but I read it as a variation of the length of staccato. The shortest is the wedge, 1/4 the value of the note; next is the dot, 1/2 the value of the note; and finally the tenuto/stacato, 3/4 the value of the note. This works for much of the classic and romantic period music, but not all composers have this understanding, so use your own research and judgement.
I simply hadn't thought of using the viewer. I publish several hundred compositions by more than 40 composers, and every time I print a piece, there has been the danger of an error occurring. Now that problem is solved.
Courtesy accidentals can be inserted as text entries. I use those found in Petrucci.ttf which was installed when I down-loaded the free Finale demonstration program. You can also use Bach.ttf which has both parentheses and accidentals.
What am doing wrong? The midi files I am successfully importing won't let me make many changes. I can't change rhythm, note values, slurs, articulations, accidentals, time signature, insert text, etc. I can move notes up and down, delete works; control-z does not work. I am using NWC2, and importing midi files created by me in NWC2, and midi files sent to me by a Finale user.
I believe this is a better solution to the slur problem. The text grace with the slash is centered at next note. The next note is a slurred NWC grace note with stem length set to 0, and no note head.
Ideally, a Tempo should return you to the last tempo...
This is only one way which composers have used "a tempo." There are so many possible variations in meaning that, IMHO, I think a tempo number is required to avoid confusion.
You are right. With my Hp4p at 20. pts it is correct; at 16 pts the stem on the last note extends down below the staff. Why should it change with font size?
As a conductor, I was taught to say "Before E, three measures." It is more important, if you are asking the orchestra to count back 20 measures, and they are all being paid scale.
I have posted a way to force a new page for printing in the tips section, but there seems to be a bug with measure numbering. The number of the measure before the break appears at the beginning of what should be an empty staff.
User Tip: To Force page turn, insert clef and key signature with visibility never at end of bar before page turn; force system break and exclude from bar count; insert whole rest with visibility never; insert new bar with visibility never and force system break; insert clef and key signature with default visibility.
This leaves an empty staff at the bottom of the page which players will ignore, or which can be used for text instructions or messages to the players.
The wrong measure number that appears at the beginning of the the empty staff appears to be a bug.
And Merry Christmas from Fenwick Parva, 25 miles north of Spokane, WA. USA where the snow has all melted but it is cold, 25° F. My son Ian and computer guru is also here collecting un-employment from his last gig with Microsoft in Seattle. He is working on his own projects now.
Thank you everybody for your help. It is now working properly. If anyone wants good bell sounds, carillondugand.sf2 is made from the carillon in Ghent, Belgium.
This seems to relate to a need I have. In Medieval and Renaissance music, sometimes sections of chant (sung in unison) alternate with sections of polyphony. I was hoping to be able to product such music in NWC2, avoiding showing 4 or 5 parts singing a unison melody by duplicating that melody on 4 or 5 staves. My impression from above is that that is not possible with NWC. Is that correct?
It can be done by treating each section as a separate file, and adjusting vertical margins to print each section on the same page.
You need to explore the NWC capabilities a bit more. On p.39 you state that Noteworthy does not allow for dynamics. It does, and your pieces would benefit from them. You can also adjust your page layout to get rid of most of the lines that end with single bars. Look at options in page layout. Also look at what other users have done.
I plan to print some of your pieces and play through them.