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Messages - hmmueller

1
Tips & Tricks / Re: painful acciaccatura
Like this? - i.e., with spacers of size 1.25 ... I hope the relative position remains stable also after page layout changes; I tried a few modifications (e.g. different margins, extending staves to end-of-line), and it seems to work.

H.M.
2
General Discussion / Re: Message during transcription
Disk full? ...
... that would have been the answer reflex up to maybe 10 years ago. But do you actually have an old drive/computer that has been filled to capacity over the years?

H.M.
4
General Discussion / Re: Happy Easter
The same to all of you!

NWC is still the workhorse of my music. Since Thursday, I have played and conducted in five services, with 3 different ensembles, for which I wrote two- and three-part arrangements of Easter songs. And during the week, I wrote music for crank organs - for a theater performance, then some old songs from Luxemburg that might be forgotten otherwise, and an overdue "Fasnet march" (carnival march). The rolls have been punched and are in the mail.

Whew!

H.M.
5
General Discussion / Re: Very complicated score (spartito molto complicato)
Quote from: lawrroc –
Now I just have to discover the entire architecture of the choruses 1.4, 2.3, etc.
Maybe the following is helpful: Before I wrote the "endings" in the score, I created this table - x means "this part plays in this verse":

Code: [Select · Download]
          A  B  C  D  Coda
Verse 1   x  x  x     
Verse 2      x  x  x  
Verse 3      x  x  x  
Verse 4   x  x        x

An "ending" that contains the number N. is, in NWC, actually not an ending, but a "play marker" that says "play this on the Nth repetition". As each verse is a repetition, I simply(?) put in markers according to this table: A plays in repetitions 1 and 4; B plays in repetitions 1, 2, 3, and 4; etc.

Harald
6
General Discussion / Re: Very complicated score (spartito molto complicato)
Here is my raw version. I actually don't see that this is really complicated - just tell NWC which parts to play on which repetition, and that's it - unless I have overlooked something. To check the appearance and the playing, open it in NWC Viewer - as far as I can see, it does what is described in Lorenzo's scan.

One special trick is in m.10, to play the parenthesized eighth only in the fourth verse: The preceding quarter is below an eighth rest, and in verses 1 to 3, this is followed by another eighth rest - thus, in these verses, the eighth note is not playing. In verse 4, however, the second eighth rest is bypassed, and instead the second eighth note is played/highlighted. I put in a tempo=30 so that when playing the score in NWC Viewer, one can follow the sequence of these events. This "machinery" would have to be copied to all parenthesized notes.

Of course, lots of formatting (layering of staves, direction of stems and ties, some beams, lots of additional text and its formatting) has to be done. As part of the lyrics is above the staves, it might even be necessary to add additional staves like "Tenor 1 UpperLyrics" and "Tenor 2 UpperLyrics" - but that's just menial work.

In more complicated lyrics cases, where part of the lyrics is reused in multiple verses, it might be helpful to have completely separate lyrics parts (with invisible rests with "Lyrics Always") where one can put the lyrics of one verse on different heights at different places of the piece; maybe one would call these staves something like VERSE1_HEIGHT1, VERSE1_HEIGHT2, VERSE2_HEIGHT2 etc.

Fun exercise, Lorenzo  :). @All, let me know what I overlooked  8) !

Regards - Harald
7
General Discussion / Re: Very complicated score (spartito molto complicato)
Hm. When I studied computer science many decades ago, we learned about the "Turing machine"; and had to do exercises to compute sums of numbers, or counting 1s in strings etc. The challenge was to use a very (very!) limited set of commands to achieve somewhat simple effects - necessary for theoretical reasons, but quite strange and awkward.

Using NoteWorthy's flow control for somewhat complex verse structures notated for humans looks like a similar head-scratcher - albeit without the theoretical benefits. Nice like an afternoon's crossword puzzle, but ... why? But I wouldn't want to discourage anyone from trying  ;D

H.M.
9
User Tools / Re: NWCCONVERTOR
Your very (very? extremely!  :-* ) helpful program converted 2 Mendelssohn files successfully - but not 3 others I tried -> they are in the attached ZIP.
Could you take a look into what happens here - not at all urgent  O:)  (I have the other 2), but maybe somewhen?
The files are from https://www.cpdl.org; the MS4 one I ran through MuseScore4, which sometimes creates a better MXL - but not here, it seems.

Thanks!
Harald
10
General Discussion / Re: Memory lost :-)
I think you might mean Schumann's sonata No. 2 in g-minor op 22, where the first movement is overwritten "So rasch wie möglich" = "as fast as possible", but then contains the instructions "Schneller" (faster) and "Noch schneller" (even faster).

H.M.
11
General Discussion / Re: Strange time
This means most certainly "play in free rhythm towards that fermata"; the brackets indicate that normal note values are irrelevant, instead the length of the sounding notes is indicated by these brackets. In the attachment is how I'd notate this in NWC (including the misuse of a slur for a tie to avoid crossing a notehead).

Edit: Of course, you could add those brackets also (with a LineSpan.nw object with both caps set to "stroke"), but I find that unnecessary when the ad lib. is added - it says essentially "don't care too much for the exact note values seen here."

H.M.
12
General Discussion / Re: Page layout - my cookbook
Hi -

Here is my cookbook for "final page layout tuning of a score":

  • Decide on the "staff metrics" size; I typically use 18...19 for instrument voices; 16...17 for choral scores (3 to 4 voices), piano and organ; 14...16 for director's scores.
  • Setup up the printer's page format correctly (typically A4 or letter, but maybe something else).
  • Now, select the correct "Contents", i.e. which staves are to be visible in the print; and let NWC do the page layout.
  • If the layout is not "nice" (which happens almost always), one typically has one of 3 times 3 cases:
    - Regarding the number of systems on the last page, there may be
    (a) one system;
    (b) quite a full page of systems;
    (c) something in between ("half filled page");
    - Regarding the filling of the last system, this may be
    (x) almost filled nicely;
    (y) almost empty (ideally, a single final chord);
    (z) something in between.

In all these cases of a not almost perfect layout, I first "wiggle" (increase and decrease) the staff metrics by 0.5 (in stubborn cases also by 1) to find out whether I get a quite different layout that might be easier to fine-tune.
Also, I wiggle the left and right margins by 0.1 to 0.2  for each staff metric size. Let's call these systematic experiments "wiggling".

The best case that I try for by "wiggling" is (b) with (x) or (z): The last page is quite full, but the last system is filled too sparsely. In this case, the systems on that last page need to be evened out somewhat, and then one is done! For "evening out", see (1) below.

The next best case to get is (a) with (y): The last page has one system, which is almost empty. In this case, I try to get rid of that system - see (2) below.

In all other cases, I will first even out the systems on the last page (and maybe some on the last page but one) by method (1); and then maybe(!) try to even out the number of systems over all pages - see (3).

Ad (1) - evening out systems: I check how many measures nicely fit on a system (let's say this is 5); then I check how many measures are missing on the last system to get to this number (let's say there are 2 measures on the last system; so 3 measures are missing to also get 5). Now, I will add breaks to exactly that number (3) of systems as follows:
- The last system but one gets a break so that the last system has 5 measures.
- The systems above get breaks so that they have 4 measures.
So, I go from 5+5+5+2 measures to 4+4+4+5. Why does the last system get one measure more? - because the final measure typically is quite empty, with only a whole note in it.
Of course, if final measures are filled in some other, peculiar  way - e.g., 4 measures at the end contain only tied whole notes -, I will adapt the breaks somewhat. But I will always start at the last system and go upwards for 3 or 4 systems; and then stop.

Ad (2) - getting rid of a very empty system: Starting at the last measure, I go hunting backwards for measures with whole notes/rests on all voices (the first I find might already be the final measure of the piece!): There, I add spacers of length 4 or 3.5 behind each staff's whole note to contract these measures somewhat - until that almost empty staff vanishes. If I do not succeed with this in say 5 to at most 10 modified measures, I'll start hunting for halves doing the same. But if this is not successful, I'd stop - managing all those spacers later is not nice. I will remove all those spacers and search for a different "wiggling" version that is amenable to (1).

Ad (3) - evening out pages: I play around with the heights of the staves; but usually quite carefully: Adding/removing 1 or at most 2 units is all I'll try. I might be a little more aggressive for piano and organ staff pairs/triples, but of course need to take care that dynamics etc. between the staves are not pushed into the notes.

For both small and large scores, I always have found a layout that pleases my eyes with these steps.

NB. I never deselect "Increase spacing for longer notes".

H.M.
13
General Discussion / Re: Finale’s finale
Quote from: SEBC –
I have fear in my heart that this forum will cease to exist or that I won’t be able to use NWC in future. I’ve probably got close to 1000 scores. I’ve stopped counting.
Me being in the business of "business continuity management", this is an interesting and serious question.

As a first reaction, I would not fear so much. NWC itself (2.75a2 and 2.80 beta) are stable programs that cannot degrade. Having a local as well as an online backup of the installers and of the necessary license data is enough to run it for the next century (as well as all the scores, of course). Regarding the underlying Windowses, there are many people out there who run older versions on virtual machines just for fun, but probably also for business. So, in the end, it is currently purely a question of money (to pay a tech crack for setting up a copy of an old system) and some time.

Come to think of it, I might go to our IT department and have them set up a copy of NWC on some old computer: It would be interesting to see what they do and need for that.

H.M.
14
General Discussion / Re: BAK trouble
If the file name ends with .nwc.bak, then NWC can open it. If it ends only with .bak, then NWC refuses to open it. Solution: You have to either rename it to ....nwc or to ....nwc.bak, then you can open it.

H.M.
15
User Tools / Re: Beat Count
An example where only manual beat writing would be possible ... not everything can be "done according to rules".
(BTW, methinks the accidentals in m.154 are somewhat off).

H.M.
16
User Tools / Re: Beat Count
Quote from: Opagust –
This is for you, hmmueller.
Would you be so kind to check it?
That looks really good.

In "real life", I/the conductor would probably change the beat patterns for the 5/8 and 7/8 measures manually.
For the 5/8, I would probably count 1-2-short3; i.e. use quarter beats like before and after, but the 5th eighth would get a "short third beat"; "one - two - THREE-one ..." is how I'd tell it to the singers. And the 7/8, depending on the text, might get a "long 2" or the like.

Having the beats like this in the score would help (have helped  ;) ) with rehearsals ...

H.M.
17
User Tools / Re: Beat Count
One last thought: When talking about writing down beats, one also needs to talk about the beats before the piece - the "1 - 2 -, 1 2 3 4" of a standard jazz piece; or the "I'll give you a full measure of 1-2-3-4 upstart", or "We start with 3 - 4 - off we go!". That's actually the most commonplace beat notation singers and players write into a score - so maybe there should be some place for this also:
- Either in a notated "0th measure";
- or in a text above the first measure.
A tool might be nice enough to add that information, or at least a space where one could put it.

H.M.
 
18
User Tools / Re: Beat Count
Maybe it's helpful to understand how beat patterns or beat counts arise (Lawrie's post says, I think, the same): They are not so much part of the written music, but part of the performance - and therefore, when there is a conductor, a decision of the conductor. Our choir conductor, after going through a piece with more complex time signatures, often pairs with me, and we have a talk like: "I could give halves here, but then change to quarters in the faster part" or "these 10/8 is actually a triplet+triplet+2 quarters feeling, so I'll conduct it like a 4/4 with a longer 1 and 2 - let's try this" etc.

There are pieces e.g. by John Rutter which are notated in 2/2, but (at least for our choir) need 4/4 conducting for a precise performance; and vice versa: Notated in 4/4, but for their "alla breve swing" need a 2/2 conducting. And of course hymns from the 16th century and before often just say "alle breve" or "2/2, 3/2", but need specific beat patterns for almost every other measure. Or think about "I like to be in America": Switching between 3/4 and 6/8 (i.e., two beats), but I'm not sure that Bernstein or anyone would care to switch between the two signatures in the notated music; and actually, when I tried it, I found I would direct it in full beats, i.e. one beat per measure - everything else gets too hectic.

So, beat organization is a selection/decision process from multiple options, determined by what is written, what is (or what the conductor wants to be) the "feeling" of the music, and what the performers are able to do ...

... thus, two important words in Andy's original posting are: "I am planning teaching my choir a piece with an irregular rhythm.", and maybe also "teaching": One might use detailed beat patterns for learning and rehearsal, but later switch to more coarse directing if everything runs smoothly.

Thus, for a tool: I would expect that one can
- run it over a complete score with selecting standard beat patterns ("for 5/n, use 2+3", or, "for 5/n, use 1.5+1.5+1+1", as in "Take Five"; "for 7/n, use 2+2+3"; and also: "for 4/n use 2+2", i.e., two beats);
- also run it over a selection and tell the tool to use different beat patterns in that part (i.e., replace what was there before, probably from an initial tool run).

H.M.
19
User Tools / Re: Beat Count
Quote from: Mike Shawaluk –
... For example, a 4/4 score that temporarily changes to 3/8 time.
With our choir, we have just performed John Leavitt's Missa Festiva. The Credo actually changes between 4/4, 3/4, 5/8 and a few others. I have attached our SSAB score as an example and test score.

And I have added an image that contains a few non-full-beat pickups (anacruses) from J.S.Bach's "Notenbüchlein für Anna Magdalena Bach" from 1725. There are more in there, and I also know of a number in church hymns.

H.M.
20
General Discussion / Re: Seeking arranger for new musical
... very quickly scrolling through it, four observations:

a) Beaming is wrong at a number of places (which is of course not ok, because it kills the visual representation of beats); one example is on p.1066, but there are at least 10 more. In arrangements of mine, I would, for a final run, remove all beams for all notes; and let NWC rebeam them (Alt-T-B). But this will produce un-nice beams at some places which would have to be modified manually each time one does that - which I mark with my EditMark.hmm objects so that I can find them later (one can also use a "remark" staff that is never printed, or things alike).

b) Also, stem orientation is sometimes inconsistent. That's much less of a problem than a), but if it happens inside a measure (which I saw), it also makes quick recognition of identical notes harder, especially with octaves (which I saw differently oriented at places) or chords.

c) In the very last piece, "Curtain Call", too much is wrong:
c1) There are no instruments;
c2) only the piano and whatever is above it (cimbalon?) are notated in the "key" of c flat, although all the e-flats are then all "naturalized".
c3) In the line above (vibraphone?), what is notated as a-sharp and g-sharp should be b-flat and a-flat. Similar problems are in the viola(?) and the second instrument from above.
c4) In the violin(?), in the 4th measure, the notated d-sharp should be an e-flat; likewise, in the clarinet(?) above, e-sharp should be f-flat.
c5) "poco a poco (tempo)" makes no sense. Is it "poco a poco accel."? and is the indicated tempo the start tempo? - "poco a poco accel. from (tempo)" would make more sense to me.

Although I have millions of things to do, it's itching me to give this a try. I'd like to have the NWC files for it, for running various tools (like my RangePitchMarker.hmm for range and note tests); or maybe some heuristics for enharmonics spelling checking (like c3) and c4) above).

d) You would have to create another few hundred pages of voices for this. Do you have a plan (organization and NWC-wise) for that?

I'll crazily think about it ...

H.M.
21
User Tools / Re: Beat Count
Like this?
(layered staff, with stemless notes with blank noteheads; and a lyrics line for the beat numbers, which I put above so that it does not conflict with the lyrics to be sung).

H.M.
22
Object Plugins / Re: About Object Plugins
Hm ... I just tried it with a copy of my "PrintConfiguration" object, which has two User Tools; and where the if-nwcut section ends with
Code: [Select · Download]
  score:save()
  return
I copied it to "fakePrintConfiguration" and tried it. It did work (i.e. save); the only thing is, I always got that popup that showed me STDIN, STDOUT, STDERR. But OKing that, it worked (when saving the score, the NWCTXT file actually changed as expected). Only if you Cancel that popup (e.g. with Esc), nothing happens. (I have a 2.75a.2)

H.M.
24
General Discussion / Re: Violin harmonics
Quote from: Flurmy –
... the second finger (2) is on the E string on the G position and the fourth finger (4) touches lightly the string on the C position so as to create the harmonic.
If I didn't miscalculate, the latter generates a G two octaves higher... but I'm asking for confimation!
Elaine Gould, on p. 420, second entry ("perfect fourth"), says so!

H.M.
25
User Tools / Re: NWCCONVERTOR
Absolutely a million thanks for this! - a few repair actions, and then - practice  :D

H.M.
26
User Tools / Re: NWCCONVERTOR
Quote from: Opagust –
Isn't it possible to correct the Musescore file, so it matches the scanned score and then export it as a mxl file and use that one as input for NWCCONVERTOR?
Mhm ... well ... yeah ... Actually, I tried to learn MuseScore - I'm not bright enough, it seems. For correcting those rests, I actually asked there (https://musescore.org/en/comment/1246588#comment-1246588), but the answers are essentially "write it anew". For this one measure - ok (although it would take me, a MuseScore dummy, a minute?); but not for many more of such "shifting rests". I tried to load the MusicXML into Capella, with which I can work more or less ... but as the MusicXML is in itself partly broken (Audiveris seems to create such things), and Capella is worse than MuseScore in figuring out such broken files, this didn't work either. Maybe a tool chain Audiveris -> MuseScore (to repair) -> Capella (to edit) -> NWCConvertor -> NWC would work ... but you see what I get at?:

An NWCConvertor which is more forgiving would be a great help for me ... please! But I understand that this is not what you want to do - "prepping" NWCConvertor for arbitrarily broken files.

(In the end, I might rewrite the whole thing in NWC from scratch - now that would be quick :-) ).

H.M.
27
User Tools / Re: NWCCONVERTOR
A wish: Could NWCCONVERTOR replace rests and notes of lengths in the MusicXML which it does not understand with a "nearby length"? Examples:

- replace notes and rests with 3 or more dots with 2 dots;
- replace rests and notes that are shorter than 1/64th with a 64th;
- replace rests and notes that are longer than a whole note with a whole note?
- all this also in triplets
- ignore quintuplets etc.

Scanned music coming from Audiveris via e.g. MuseScore or Capella often contains spurious notes and rests to "make measures and time signatues fit". NWCCONVERTOR, if I understand it correctly, fails when it encounters them. It would be helpful it the (already garbled up) file just becomes a little more garbled up on output to NWCTXT, where I then would have to repair all the wrong things anyway.
In the attachment is an MXL file (inside the ZIP) which fails right now - I have added both the mxl file and the MuseScore file, maybe this is helpful; and an example of a measure with such "padding rests" that I would have to edit out.

Thank you!
Harald
28
Tips & Tricks / Re: Select All Staves - How To?
Do you really want to delete them?
==> then simply press Ctrl-D and PageDown alternately ... see here ("Next" in the video means "Page Down"): https://youtu.be/Jmtq7BQghD0

Or do you want to hide them? i.e., they are still in the score, and can also be heard (unless you mute them):
==> then go to Page Setup (Alt-F G) --> tab contents --> under "Visible Parts", select what you want to see.

Viewing the piece in a "paged view" (i.e. it looks as if you are turning paper pages) is not possible in NWC. One can combine tools like a PDF a viewer, a specialized MIDI listener and some more in a complicated way to do this; but it is hard work.
I present all my scores on youtube with NWC viewer, recorded with OBS (and Reaper an the background as sound engine) - this seems to be helpful for many in our choir. Here is an example: https://www.youtube.com/watch?v=etbe_r1PotQ

H.M.
29
General Discussion / Re: Script Bug Challenge
Nice  :D. Word boundaries are always helpful.

(Incidentally, I created practice files of that type for a friend who wants to "sight-transpose" with her Bb trumpet. I used a simple AWK script to generate a random sequence of muted/visible + playing/invisible note pairs. Youtube example).

H.M.
30
Object Plugins / Re: PrintConfiguration (0.7)
There was a significant bug (or, rather, omission) in this object: It did not save font sizes. I always thought it did, but ... hm. But from version 0.7 onwards, it does. Also, the online documentation now spells out precisely what is saved.

H.M.
31
General Discussion / Re: Just a weekend story
In short: You must manually install Java 17.

Background: Java versions are essentially different softwares, each with its own update path/history. You won't get from one to the other automatically. There are a few "LTS" = "long term support" Java versions, namely:
  • 8 - also written as 8u411 or 1.8.0-411 (411 is the build number, which will change with each upgrade)
  • 11
  • 17 - also written as 17.0.10... or the like
  • 21
"LTS" means that these versions will get security and bug fixes for a maybe decade or even longer. Thus, you have "the latest version 8" installed; but there will not be an automatic jump from 8 to 17.

(I think it's the same with e.g. Windows versions: You can have "the newest version of Windows 10" - i.e., with all the latest fixes -; but you won't be automatically upgraded to e.g. Windows 11; and other "more complex" software products, like database systems, IDEs, etc.etc.)

H.M.
32
General Discussion / Just a weekend story
TL;DR: Life without NWC and NWCConvertor (a BIG shoutout for Opagust!) wouldn't be life - with a healthy dose of support by Audiveris. Here's my story of this weekend:

At hand:
- The full printed 72-page score ("score F") for a small orchestra (strings, winds, harp [with important segments], percussion) of a modern mass for SATB choir;
- also, a printed 40-page condensed score ("score P") for piano and SATB;
- finally, 40-page choir's score (only) in our own modified version for SSAB choir, written with Capella score editor ("score C"). This was created painstakingly and slowly by a colleague, reviewed and edited multiple times by our conductor, formatted by me to get a somewhat professional layout; thus, it deviates from the previous scores at quite a lot of places.

Todo - overdue, i.e. quickly:
- A full score for instruments strings and piano and our SSAB voices; and a piano score.

The idea is that the piano plays the voices from score F except the strings. Maybe half of it will come from the harp, some segments also from clarinets and flutes, rest "as necessary"; much copy-and-paste should be nice to get a rough result quickly.

First idea: Capella Scan (music scanning software for Capella) to scan both scores F and P, then append the string and harp and a few wind staves from score F to the existing Capella score C. Scans with Capella Scan looked good; but copying of full staves betwen scores crashed (the most uptodate version) Capella, and line-by-line copying of 72 pages times 4...5 staves = more tha 300 copy-pastes, with probably more thana handful of pasting errors thrown in, is not what I had in mind for just creating the raw version.

What did work, starting on Saturday morning:

1. Scanning scores F and P into PDFs.
2. Run the PDFs through Audiveris unattended and saving as MusicXML (but the lyrics got lost - I did not succeed in installing the necessary Tesseract OCR files).
3. Import into MuseScore 4 and re-export as MusicXML roughed out many many edges.
4. NWCConvertor then created NWCTXT files ready to be edited without a hitch.
5. A good text editor (I use UltraEdit) and some regular expression magic converted or removed many funny things (mostly invisible rests that came from Audiveris and MuseScore to even out measure lengths) in the NWCTXT files (I LOVE a line-based text format ... for this sort of jobs)
6. Copy-paste of the lyrics out of Capella did work; however, the text editor and its regexps were needed again to replace Capella's somewhat weird lyrics formatting to get simple NWC-like lyrics.

From there on, I did direct editing in NWC: Copy-pasting staves (all the strings, harp!) or parts of staves (clarinets!), and then also writing of a few hundred new measures. On Saturday evening, I attended another choir's concert. On Sunday at 9am, I continued; and at noon, I was done with writing out the notes. The standard process of adding sound and listening to the voices revealed quite a few missing clefs and accidentals - but by 3pm or so all sounded fine. Formatting for nice page boundaries took another two hours, and at 5pm, I sent out the full director's score.

Creating the piano scores from the same NWC score files took a few hours today - I use my PrintConfiguration.hmm objects extensively: It's really easy to quickly create voice scores (in this case, for piano with a cue staff) as well as re-create the full scores (because, of course, I found quite a few more quirks during this).

I'm now waiting for review remarks from the conductor and the piano player. After maybe two or at most three more turnovers, we can then print and bind the 70 pages for the conductor; and print the 15 piano pages.

H.M.
33
General Discussion / Re: Buona Pasqua
Happy Easter to all of you!

Holy Week: 5 services behind me, 3 coming up; 9 or 11 rehearsals, I don't remember; and a number of 3-voiced choral settings written; one of them in 12 minutes (friend in car was coming, so I had to hurry) - including lyrics and nice formatting, of course using NWC. Wouldn't know any other music editor where I could do that. See attachment.

H.M.
34
General Discussion / Re: Funny notation
Better (or rather, correctly) like that:

Code: (nwc) [Select · Download]
!NoteWorthyComposerClip(2.751,Single)
|Note|Dur:8th|Pos:2|Opts:Stem=Down,Beam=First
|Note|Dur:8th|Pos:1|Opts:Stem=Down,Beam
|Note|Dur:16th|Pos:2|Opts:Stem=Down,Beam,BeamGrp
|Note|Dur:8th,Dotted|Pos:5|Opts:Stem=Down,Beam=End
!NoteWorthyComposerClip-End

H.M.
35
Object Plugins / Re: TremoloSingle.ms (2.1)
Mike, I think you are right. In the attachment are three excerpts from Bruckner's 7th symphony (two at the very beginning, one almost at the end); where one can see that the tremolo markers on the eighths have two beams, whereas the tremolos on longer notes have three beams. Of course, the tremolo speed is the same everywhere in a phrase.

Elaine Gould implicitly, by examples and by implying that the notation is (also) used for "measured tremolos", implies the same on pp.222-225 of "Behind Bars".

H.M.
 
36
General Discussion / Re: Very long half note
In the attachment is my version of the tenors - simply written on two staves, with melismatic.nw.

And here is a Youtube of NWC's + Reaper's rendition of it, using Olympus Micro Choir in Kontakt Player (see attached PNG). First, I press F11 so that the two staves are shown as a single one; then I play it - I think one can hear all the notes of the voices quite distinctly.

H.M.
38
General Discussion / Re: NWC bug
My 2.75a.2 is "even wronger" - when I do what you say I get a completely impossible thing  :o  :P  :'( - see the attached images!!
But after saving and reloading it's actually as you show it.
Ok - a bug, or maybe two :)

H.M.
39
General Discussion / Re: NWC bug
Not sure why this should be a bug: A b-flat is different from a b-natural, so they cannot be tied. What do I overlook?

But there is an obvious bug in NWC, to be seen here:
Code: (nwc) [Select · Download]
!NoteWorthyComposerClip(2.751,Single)
|Clef|Type:Treble
|Note|Dur:4th|Pos:b0^
|Bar
|Clef|Type:Bass
|Note|Dur:4th|Pos:0
!NoteWorthyComposerClip-End
These two should not be tied.

H.M.
41
User Tools / Re: NWCCONVERTOR
Quote from: Opagust –
Or you may move the time signature before the RangePitchMarkers?
I hesitate to do this, for two reasons ...

a) I have all the "fixed things" on the left (which includes the RangePitchMarkers), and then start with the piece (which includes the time sig).
b) The key signature goes before the time signature, so the key signature would be before the RangePitchMarkers, and then those would need full accidentals ... which, thinking about it, wouldn't be too bad anyway ...

... those staff headers anyway got too chaotic, so I might want to clean them up; and then see whether the (or - aha! - some (maybe invisible)!) time signature could go before them. More "clerical work" to do, instead of writing music ;-)

Thanks!
H.M.
42
User Tools / Re: NWCCONVERTOR
Mhm. Seems I need to change my templates - these are RangePitchMarkers I use now at many places ... or I delete them manually (using GroupOps) to create specific "convertor nwctxt files"; that's probably what I'll do.

Thanks!
H.M.
43
User Tools / Re: NWCCONVERTOR 1.0.7.2
Trouble with a score ... this one says with ERROR. I do have a time signature in "P2, voice 1" as far as I can see. What's wrong?

(In case you ask about that spacer-filled staff: It is for somewhat more smooth playing in the Viewer, like so).

Thank you!
H.M.
44
General Discussion / Re: Finished Software?
Quote from: Mike Shawaluk –
Are there any significant bugs in the released version that haven't been fixed? I am aware of one minor user-object-related bug that was fixed in 2.8 beta 1, but I also recall that the beta introduced a different change of behavior that broke several user tools.
Didn't we have a list somewhere? The one bug that bugs me is that slurs with an invisible marker are shown visibly after the next line break after a repeat bar (the workaround is to plaster in multiple invisible slur markers; so yes, it's only a nuisance and nothing "significant" :-).

H.M. 
45
General Discussion / Re: Una corde
If you mean by "do this"
  • "how to notate" this - just write, as in the original score, "una corda" (ok, that's probably obvious);
  • "how to make it sound like that", then the question is, first, of course: "What is that una corda sound?" - I have not played too many upper-class pianos, but as I understand it it's a more mellow sound, and typically also with less volume (although you could hit the keys very hard in an una corda passage). Possibility 1: Typical piano soundfonts get more mellow when playing with less velocity; so reduce the velocity (with a dynamic with suitably chosen velocity) until you get the sound you want; and then adjust the channel volume (with an MPC) so that is as loud as you want. Possibility 2: If you find a piano sound font with an una corda bank, you can switch to that bank (with an Instrument Change).

H.M.
47
Object Plugins / Re: TremoloSingle.ms (2.1)
Would something like the following work, for line 157?
Code: [Select · Download]
	local fini = idx:sppOffset() + nwcplay.calcDurLength(idx:durationBase(t.Which == 'bottom' and 1 or idx:noteCount())) - 1
At least, it seems to play both the attached scores correctly ...

H.M.
48
Object Plugins / Re: Beam.hmm (0.91)
I've quickly added a "Beam width" property in version 0.91. 1 is the default width. An example file is in Reply #1 near the top of the thread. I hope I have not introduced any (new) errors - if so, please notify me!

H.M.
49
User Tools / Re: NWCCONVERTOR
Thank you!

- First item  :)) .
- Second, I had not installed MS3 on my new laptop - did it, it worked (well enough), thank you for trying and telling me!
- Third, I do not need correct playback - it's just that a certain website requires a MusicXML to be added, so I needed one. For actual listening, I have a youtube link to a playback with NWC Viewer (and Reaper + some soundfonts for the actual sound).

H.M.
50
User Tools / Re: NWCCONVERTOR
... also, here is an nwctxt file which after conversion crashes MuseScore 4.1.1. Maybe you can figure out the problem?

Thx!
H.M.