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Messages - David Palmquist

Object Plugins / Re: BarCounter.nw
Thanks, Mike.  I'm not worried about it, since I've printed the score already and will be giving it to my conductor on Monday, but if it reveals a glitch in the user object, it might be nice to fix it for subsequent users.

The attached image shows the numbers are on all top system bars until the file is printed.

While the work is POP, copyright still subsists since the arranger died less than 50 years ago, so I will send you the NWC file by personal message.
Object Plugins / Re: BarCounter.nw

It would be nice if the custom bar counter object gave a choice for fonts, circles and squares as discussed by hmmeuler and Mike below two years ago. 

I really like this object, but minor tweaks would be nice. 

Also the "help" could be enhanced - for instance, you can choose "all eligible bars" - what does that mean?  On my current score, the bar count prints only at bar 5 of the first page, the first bar of the first system on pages 2 to 5, but then it normalizes on pages 6 to 50.  showing on each bar.  I thought it had something to do with notes on the first system being in leger-line land, but high notes are on that staff throughout the score.
Let me withdraw the wish.  I didn't pick up that just holding the right arrow while in the active (short) staff would scroll everything, as described by Opagust, but it does tonight. 

Good enough for me.  I don't need anything more. 

Thanks to all who participated.
Thanks, Rick.  The wheel on my mouse doesn't do that for me (running on Windows 10) - perhaps the mouse is outdated (it's wireless and I've had it for a good 10 or 20 years) but I can scroll by moving the whatchamacallit in the horizontal scroll bar, or simply clicking in the blank space to the right of the whatchamacallit.

It isn't quite what I'm requesting, though.  I'm looking to see at a glance what's coming up in the next few bars in the systems above the active staff, without having to change staffs or use a mouse. 

As I say, nice to have, not need to have. 
Our band received some donated music which is missing a score.  It's 353 bars long with parts for the full gamut of concert band instrumentation.   It's long out of print, so our conductor asked me if I'd write a score from the parts.  Foolishly, I said yes.

Where an instrument has more than one part (i.e., first, second, third, etc.) they often are parallel or at least have the same phrasing, note values, articulations and rhythms.  It is convenient to copy from one part to the other and do a little tweaking.

Having copied out the first 10 parts (Sharpeye didn't do very well this time) I'm at about bar 280 in the 11th.  The active bar in this 11th part is near the right edge of the edit window so I cannot see what is coming up in the preceding systems that I might copy into the active staff to save time re-notating tricky rhythms and articulations. 

I can see potential copyable bars in a preceding part if I move up a system, scroll right, copy what I need, and move back down to the active staff.

It would be really nice if the edit window could be set to scroll right and stop where the active bar is near the left side of the window.  
 That way the following bars in the preceding parts would be visible. 

Since not all users would want this, it should be something to toggle on or off.

One for the wish list, I think.  Not essential, but nice to have one day.
Flurmy, you wrote "That's why I hate the things invisible in edit mode. "

Have you tried changing the colour for hidden objects in the editor?  Go to Tools, Options, Color, and edit the active and inactive hidden object colours. 
..., they may as well buy Finale (churches get a 42% discount!),... to enable that content to be usable in my app.
They might as well, but there's a very steep learning curve with Finale.  Best of luck with your venture.
I'm not familiar with lasconic's converter.  Maybe the problem is the converter rather than NWC.

Have you tried Niversoft's?  It will create MusicXML from nwctext files (I don't know how it works with lyrics.  Not my thing..

Hope, because lasconic's .nwctxt -> MusicXML converter makes mistakes when multiple lyric lines use voices to change rhythms on a man additional verse.  Without that bug fixed (and it doesn't look likely), my users will be unable to import the content they created in NWC unless I write an importer from scratch.  And without proper documentation on what might appear in the file, interpreting my users files will be "best guess" instead of reliable.
It would probably help us understand your needs if you would tell us who your users/potential are, Ben? 

What is it you're trying to achieve? 

What do you expect your users will be doing that they can't do with the free  NoteWorthy Composer Viewer, available at ?
Just highlight the entire clip (from "!NoteWorthyComposerClip(2.751,Single"to  "!NoteWorthyComposerClip-End")  then copy it, and paste it into a new NWC staff.
General Discussion / Re: A compliment!
How interesting!  I confirmed that by opening the nwctxt in a text program.  Thanks, both.

I wonder if the insertion happens when SharpEye creates the MRO file, or when it exports it to XML?  Or is the error created within the XML to NWC conversion?   Doesn't really matter, this is mostly just a rhetorical question.

General Discussion / Re: A compliment!
You may be right about the purpose, Mike, but if you take a look at my example, you'll see they mark bars where invisible items ("artifacts") create extra time within bars.  There are no muted notes in that staff, although I guess NWC might be treating the artifacts as muted.

The artifacts come from processing a BMP image of a page of music in SharpEye, exporting the result to a MusicXML file, and processing that through Niversoft's MusicXML ↔ NoteWorthy converter to create a .nwctxt file, which I opened in NWC 2.8 Beta 1. 

I haven't previously noticed the red marks, probably because I usually correct timing errors within SharpEye before creating the .nwctxt file.  I was taking a shortcut today because there were a lot of timing errors in the SharpEye MRO file, and I thought fixing them in NWC would be quicker and easier.

Thanks to the red marks, it was fairly quick and easy.

Oddly enough, the red marks in the bar number panel disappear when a label is added to the staff.  These invisible items used to be indicated by miniscule red marks within the bars of the staffs but those didn't show up today.

The first system in my enclosed sample image is the imported file; the second staff was just added to show the correct length of the corresponding bars.

Whatever their purpose, the marks were very  handy today. 

General Discussion / A compliment!
I used SharpEye just now to create an XML file from tuned percussion parts, converted that with Niversoft's converter, and brought the resulting nwctxt file into NWC.

I was delighted to see the bar number panel now shows tiny red x marks in each bar where there was a hidden SharpEye artifact - maybe that's what they're intended to identify, or perhaps they're intended to identify bars that don't have the right number of beats for the time signature.

Either way, they're going to make life much easier. 

Thank you, Eric, for adding this feature.  
I guess one for the wishlist - or maybe it is already here and I just don't know -

It would be nice to select several systems and set the properties at one time, rather than select each system on its own, and repeat the effort for each one.
...Another mystery to me, and this may be related, is how to use the visibility options. I have only ever used Default and Never. What's up with all the  other settings?

One of the most useful visibility settings for me is "top staff only," particularly for rehearsal letters, tempo markings, etc.  Generally I copy those to all the staffs, and when I select the staff or staffs to display/print, these marks will only print on the top staff, although they will be visible (faintly) on all the other staffs showing in the edit window .  When I select another staff or set of staffs to display/print, they're present on the new top staff. 

I find the visibility settings a little complicated for the multibar rest feature.  For me it's always a bit of trial and error.
When I tried to get to the Scriptorium using the NoteWorthy Scriptorium and NoteWorthy Composer Scriptorium hyperlinks at, the links took me to, a splashpage for GoGS.  That's something to do with GitHub for developers.

Perhaps the Scriptorium hyperlinks need to be checked?
My wife and I went to Maui and had a very quiet and different Christmas.  I hope your Christmas was as enjoyable as ours.
Thanks Lawrie.  Had I not been writing at 4:30 in the morning, I might have thought to look for that!

Happy new year, eh?
Didn't see an attachment for your 28-12-18 question.  Looked at the 21-12-28 example, and the concept seems okay. 

The colours you apparently want to use are missing - other than the first few "chords" showing ranges, all the notes are the same colour.  The dynamics as shown don't clearly show the message you're trying to convey.  Why are they there?  You should explain them on the page.

The "beginner" range seems awfully limited, and are you sure where it begins?

Range diagrams in Sammy Nestico's The Complete Arranger don't describe the tonal qualities. 

I don't have the book readily to hand but I believe he writes just the bottom and top notes of the instrument's range, marking the difficult ones with parentheses more or less like this:

|Text|Text:"(      )"|Font:PageText|Scale:70|Pos:-14|Justify:Center|Placement:AtNextNote
|Text|Text:"Concert pitch"|Font:StaffBold|Pos:14|Placement:BestFitForward
|Text|Text:"(      )"|Font:PageText|Scale:70|Pos:12|Justify:Center|Placement:AtNextNote
|Text|Text:"Notated as"|Font:StaffBold|Pos:14|Placement:BestFitForward
|Text|Text:"(      )"|Font:PageText|Scale:70|Pos:12|Justify:Center|Placement:AtNextNote

Object Plugins / Re: CueStaff.hmm (0.6)

SEBC would like the pianist to play all the notes in the piano part PLUS, where the oboist is missing, the notes of the oboe solo with more piano notes as well.

I think the problem is presenting the pianist with sheet music that shows (a) what s/he will play if the oboist is soloing and (b) what s/he will play in the absence of the oboe soloist. 

I think I agree with Rick that the oboe part can be treated as a descant to the piano part but not being a pianist, I am not sure how is traditionally presented.  I think it might have to employ cue notes.

If I understand SEBC correctly, where there won't be an oboe soloist, the pianist will be asked to do more than just add the oboe notes to the piano part; the pianist's part will be rewritten to be more elaborate, maybe including the oboe "melody" or replacing it with something else.

So for instance, if the oboe simply has moving quarter and half notes and the accompanying piano intro is just half note and whole note chords, when the oboist is away, the piano part will have some, none, or all of the oboe notes, plus perhaps eighth notes and other ornamentation.

Maybe the simplest approach would be to write two versions of the first page of the piano part on the front and back of a single sheet of paper.  The first side would show the first page of the basic piano part beginning with the three system notation I described in my earlier suggestion.  The back side of the same piece of paper would show the music SEBC wants the pianist to play if there isn't an oboe soloist.

Appropriate text is needed near the top of the pages, essentially saying "play this page if there is an oboe solo"  and "play this page if there's no oboe solo."  You'd need to use prettier language, as long as the direction is clear.

If a back-to-back first page with single sided following pages creates difficulty for the pianist, the other option might be to simply print two versions of the piano part, one for when there is an oboe soloist and a more elaborate version when there isn't the soloist.

Object Plugins / Re: CueStaff.hmm (0.6)
IIRC, a typical piano score for a piano accompanying a soloist has three systems - top system showing the solo in concert pitch, and then the right and left hand systems.

Is there any reason not to do this for your piano part?   If the oboe solo is only a short intro, the piano sheet music need only have three systems for those bars, and then the top staff could be collapsed. 

To ensure any "top staff only" settings were preserved, the piano right hand staff could be collapsed instead of the oboe staff; and the right hand piano part would simply be notated on the oboe staff instead:

O   O   O   O   PR  PR  PR  PR
PR  PR  PR PR  collapse
Windows has a very handy Snipping Tool which might be as good as the Copy Page feature if you only want a small section of the Page Preview page to be copied.

You open it, highlight the part of the screen you want to copy, go to your target page, and paste it.  Saves having to edit out the unwanted parts of the source page.
I agree, hilarious. 

I think that's Taft Jordan at the end, singing It Don't Mean A Thing with the Ellington orchestra.
William, I think you're right.  He done good, huh?

H.M. -
  • I wasn't asking how to activate the preview - I was "wishing" for a minor update to make previews interact more efficiently with the existing dialogue box.  As it seems to be, one must set the parameters in the dialogue box, exit, do the preview, close it, come back to the dialogue box, tweak the parameters you didn't like, close the dialogue, open the preview, close the preview, then if the object needs tweaking, open the dialogue, tweak it again, close it, do another preview, close it, make the necessary tweaks... and so on, and on, and on, and on...
  • Should "[Shift-Left]    Esc    Alt-Enter"  read" Esc    [Shift-Left]    Alt-Enter" ?

I finally used PageTxt.nw and PageTextMaestro.nw for the first time, and I'm impressed.   The learning curve is easy, and the result is great.   I don't recall who created these, but thank you.

I wonder if an enhancement is possible:
Page Setup has a Preview button.  It would be nice to have that in the Notation Properties dialogue window that opens after the User Prompt.
Object Plugins / Re: (1.0)
Mike, I just wanted to say thank you.  I used your for real for the first time today, and it does the job perfectly.

General Discussion / Re: multi notes

If the lyrics are simple, you can use the Text feature to write each syllable and place these at each note.


If you don't want to use Preserve width, you can achieve something similar using spacers after each syllable- these are done with your Insert key.
You can't copy and paste more than one "system" at a time.  A system is a single staff from start to finish.

You can add one or more new system for the actual song, and simply end the Bells Used staff with a few spacers and a hidden bar line set to Force System Break.  Your second and other new system would simply start with one bar with a hidden rest and hidden bar line.

If you want to do it all in one system, while you don't really need it, create an invisible 15/4 time signature at the beginning. Just after your high C, add a bar line, make it invisible, but set it to Force System Break.  Unless you need whatever comes after the gap to be on the same line, you won't need the gap because FSB will force the system to wrap to the next line when printing.

Copy this into a new song file and do a print preview to see what I mean.

|User|XText.hmm|Pos:7|Font1:PageText|Text1:"Handbells Used"
|Text|Text:"˅ Everything to the right of this point will be on the next line"|Font:StaffLyric|Pos:11
Thanks for digging this out, Rick! 

I notice it also affects the weight of leger lines.  This is a good thing for those of us with bad eyes.

(I  thought growing old would take longer.  Sigh.)

The anchor is just an annoying presence I just wish weren't there.....what I'm really trying to do is erase the text-letter (chord name) I placed there.  I have moved the cursor up and down the edge of the letter, front and back and tried to delete it from a number of possible positions "on or near" the letter and anchor and nothing just keeps erasing the notes down below it.  When you try to highlight the letter, it highlights the entire vertical strip from the letter down through the measure below.  How do I isolate the text-letter I inserted.  Example...i want to change the chord from G to C....I seem to not be able to erase the G at all.  I've tried the delete and backspace buttons.  It used to be very simple in 2.5.5

To delete the text, highlight its anchor and press delete. The easiest way is to place your cursor just before or after the anchor, select it with {shift} and the {left or right arrow} to highlight it, and press {Delete}.

If you have several, you must select them individually, but finding them can be automated using Find.  Go to the beginning of the staff,  press {Ctrl}{F} for Find, ensure your cursor is in the Find What box, and use the down arrow to select *text

Pressing {Enter} will select the first text anchor on the staff, showing a vertical line there that extends from the bottom to the top of the staff boundary  (the vertical line does not touch any notes or rests or bar lines.)  If you want to delete that anchor, just press delete, and the chord name will disappear.  To find the next text entry, press {F3}, delete that one or not, and {F3} again to find the next one. Be careful not to delete the anchors for any text you don't want to remove.

If the Bells Used staff is meant to occupy the entire first system, wouldn't it be easy to do with a forced system break, having the bar count start at zero, and excluding all the bar lines on the first system from the bar count? 

As for stitching two pieces together, would it work to have four systems? 
The first system is the Bells Used staff, and it could either just end at the system break or be collapsed from that point on.
The second system would be the first instrument, with collapse staff used at the beginning and again where the second instrument is introduced.  From then on, it could simply be terminated or filled with rests.
The third system would be full of rests and be collapsed until its notes begin.  Where the second song starts, use a boundary change to increase the distance between the two songs for the length of its first system. 
The fourth system would be the organ, and it would be collapsed from the beginning until it reaches the end of the Bells Used staff, but otherwise would continue from the start of the first song to the end of the second one..
Making the two songs one file screws up the embedded bar count, but there's a tool that I imagine can overcome that (I've never used it).

Staff 1 Bells Used staff xxxxx/system break to end this staff here
Staff 2 Song 1 collapse this staff until the notes start-----------------xxxxxxxxxxxxxx/collapse this staff again---
Staff 3 Song 2 /collapse this staff until the notes start, then do a boundary offset for its first system-----xxxxxxxxxxxxx
Staff 4 Song 1 and 2 for the common instrumentxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
General Discussion / Re: Corrupted File?

A workaround to starting over might be to play each existing staff by itself - use {shift}{F5} - if it sounds right then the problem is in a different staff. 

Once you've found the bad one, make note of where it seems to go wrong.  Mute all the existing staffs, add a new one, and copy
everything from the beginning of the bad staff to the bar before the problem to it.

Put the "right" properties in the new staff, and see how it plays back.

General Discussion / Re: Transposing
Happy to help!
General Discussion / Re: Vacation Hell
What a drag!

I don't know if it will work, but you might try emailing

If you are still using the email address you had when you bought your licence and if it is in their licenced user database, maybe they will send you what you need.

No guarantees; I don't know if they will receive your request or not.  Just an idea.

General Discussion / Re: Transposing
 One problem is when I play both staffs in C I get 2 different tones even though they are in the same key.

Larry's suggestion about updating staff transposition is the likeliest solution.

If not, your description suggests the problem existed before you transposed the second staff.  Check the settings in the midi and instrument tabs with [F2] ("staff properties") for both staffs before transposing the second one.  They should be the same.

As to octave, if your Eb instrument is an alto sax, you should transpose UP nine semitones rather than down three to get the right octave.  If it's a bari sax, you need to go up twenty-one semitones (in two stages, twelve and nine).
General Discussion / Re: Swing rhythm
I'm more or less with Laurie on this; I don't care that much about playback being perfect.  However I support the idea of the cheat sheet, but wonder why we might need a whole staff rather than just a single bar with a local repeat set to X number of iterations.  It can be hidden and doesn't have to clutter up the edit screen.
General Discussion / Re: An idea
I would like to target my texts mainly to new users, who should see images and text useful for solving their problem - and not much more.
Sadly, some of us oldtimers need hints and reminders, particulary after we've taken some time off from notating music.  These forums are wonderful, but not akin to a user manual.   In particular the various user tools aren't always well described.  They need to be illustrated, their purposes explained , and how to use them set out.  What I'm saying is, please don't write the blog/webpage/whatever just for beginners. 
General Discussion / Re: An idea
An online book could have graphics illustrating various notation scenarios.   A picture showing what the user is trying to achieve with a narrative below would be better than just the narrative, particularly since the lingo can be pretty technical or there can be different expressions for what you're trying to notate.
I have a need for cue notes as another NWC staff metrics setting (I know,there's a tool for cue notes), but I don't have a need for a cue staff.  Other users will, but if, as you say, it's a lot of work, maybe it can be left to Eric to develop.  I think it could be achieved if the Page Setup Fonts Staff Metrics could be set for each system rather than the entire score.
I like the single bar repeat label best with the brackets, thank you for making that the default.

In the charts I encounter, the double bar repeat sign usually includes the numeral 2 reight over it, just above the clef- see the attached image. There doesn't seem to be a consistent rule - Finale has it (see ( but other online sources don't ( see
  • Since there might not be a rule, maybe you can provide two versions of the double measure repeat sign, one with and one without the number 2?
  • If the user chooses to use the number 2 as part of the repeat sign, the numerical label may confuse things and may be covered up by it.

If I understand it correctly, all the tool does is insert a nicely placed single or double measure repeat sign, with or without a label.  It doesn't reset the visibility of the pasted bars, nor does the label increment if the user wants to use labels.  The tool is useful,for sure, but am I missing something?

A comping slash (  / ) choice with this tool would be a nice enhancement - the slash is consistent with the single and double measure repeats and it is encountered often enough to automate it too, rather than create it with text, in the right font and font style, centred and placed "at next note." You find the comp symbol in old jazz charts for instrumets like banjo and rhythm guitar.  It's easy enough to write these slashes with text, placed at the next note, so it's not essential to add it, but if you can, it would be a nice touch.

(your RepeatMarkExample3FromBehindBars.nwctxt illustrates the tremolo rather than repeat marks.)
Object Plugins / Re: (0.3)
    ...The main necessary feature is that the number 1 must appear above the notes defining the repeated segment. Why?  The tool doesn't seem to increment the number in the repeat bars and I don't think I've ever seen the number 1 appearing above the repeated bar in professionally engraved charts..Of course, one could create this label manually. However, to me this simply seems cumbersome - why not use the same object, but without a symbol? This seems quite logical to me.  I'm not sure what you mean.The same effect (label, but no symbol because notes are visible) is necessary after a line break, according to one example in B.B. Yet in "Repeated bars and line break" you put the number in the visible bar that begins the second system../b]
    • First, I did not want to pop up two dialogs, therefore I put the flag that says whether the symbol should appear into the sign of the label; but maybe the alternative design, with a separate checkbox dialog with default "show symbol" does not need more key hits ... I have not counted them. 
        Agreed.  The fewer the clicks the better.  Getting to the label box in the dialogue window is a little awkward.
    • Second, for single staff printing, the user tool should add useful spacers.
        As it currently works, you need spacers before and after the symbol to make it sit inside the bar instead of over the next bar line.  You want the double bar repeat to sit on the bar line, so it's only the single repeat that needs to be tweaked.  How about changing the symbol from % to .....%..... (where ..... is a space set with the space bar), and using the Preserve Width setting?  The dialogue box could ask the user how many spaces to use..
    • Last, the tool should make all the notes and dynamics (and what else??) invisible when applied.
        In percussion parts, jazz bass and jazz solo charts, the single bar repeat is dictating the rhythm or the chords  but not necessarily dynamics, text, dynamic variations, or tempo variations.  For instance, I occasionally see hairpins in the last few bars of single bar repeats.  In such cases, the repeat sign is not "correctly" a repeat, since you want the player to do what the rest of the group is doing.  I think it would be enough to simply change the notes within each bar to invisible, rather than make everything else invisible too.
    Other thoughts.
    • I'm not sure what you mean by "label" but I think that is what you're calling the little number you place over the simile symbol every bar or every nth bar.
    • places brackets around the label:  (4), (6) etc.  That is preferable to the label currently generated by RepeatMark_ms.hmm.  Why?  I recently sight read a chart with many successive two-bar repeat signs, each of which had the required 2 over the symbol.  The chart also had small printed bar numbers above each bar line as well as labels showing the repeat iteration number.  Brackets around the label make it easier to differentiate from the other numbers.
    • Each repeat sign seems to need to be entered manually, with labels (if needed) set individually. The numbers in the label don't seem to increment automatically (maybe I missed it).  Automatic would be better, since suppressing the label with 0 or setting the label requires some awkward mouse movement in the popup window.
    • I wonder if the logic could work like the multibar rest sign?  Insert the tool in the bar after the one that is to be repeated, set the number of times it is to copy that bar, make the notes invisible and insert the sign, and give the user control over which repeat iterations get labelled.
    • Each simile bar may be labelled with a number if the user wishes, but it's more common to only see the label every 4 or 6 bars. Your tool allows the label to be suppressed, but the best way to invoke that is simply set it up in the first repeat bar and copy that entire bar as many times as desired, changing the ones you want to label.
      Overall, a very useful tool, please carry on developing.  My thanks to both Mike and you.[/list]
    Object Plugins / Re: Breve.test (0.1)
    ... Another suggestion that has been offered in the past is to have "transparent" as one of the notehead colors. This is a bit different than what a blank space notehead does, since that only "hides" the notehead, not the accidental or augmentation dots associated with a notehead.
    Just a quick note, you probably know you can hide accidental signs by hitting 7, 8 or 9 a second time.
    Object Plugins / Re: Beam.hmm (0.4)
    Hi David, though you don't really need it for this, it is available as part of an optional suite upgrade I did in 2009:

    The link is on the Scripto in the same place as my other suites:

    Hi Lawrie, thanks! 
    Don't know how I missed it.  I'll blame it on my recent retina surgery.

    Object Plugins / Re: Beam.hmm (0.4)
    ...If you go to Tools-->Options-->Folders, what is the folder near "Object Plugins"? Is this exactly the folder where you installed (copied) the Beam.hmm.nwcuser.lua file to?

    Hi H.M.,
    You hit the nail on the head.  I didn't know I had to download/install the LUA file.  The demo files open correctly now. Good stuff!
    Thank you.

    Object Plugins / Re: Beam.hmm (0.4)
    Hi -
    ...I don't think it has to do with fonts. First, the .nwctxt files do contain the font names embedded, so one should see in the page setup whether there would be any unusual fonts.
    But second and more important, I do not use fonts, but rather draw the beams with NWC's plugin machinery (in concrete, the nwcdraw module; the code for drawing a beam is copied verbatim from the nwcdraw documentation).

    Just to make sure - I use NWC version 2.75a.2.

    And I have attached an image on how "Stemlets.nwctxt" looks in my NWC ... what does yours look like?

    Do you see any alerts - either
    • when opening NWC (which would indicate a problem with Beam.hmm's source code),
    • or when opening an example .nwctxt file (which would either indicate that Beam.hmm is not installed at the expected folder, or again an error in the source code which for some reason does not occur on my computer)?

    1.  I don't have MusikChordSansGermanic and it isn't listed in the Fonts section of the Scriptorium.  Where can I download it? Does it need to be set up as Userfont1, or something else in Page Setup Fonts?
    2.  I also use NWC version 2.75a.2.
    3.  Alert = "Detected 4 unknown user objects in Stemlets.nwctxt"
    4.  See attached Stemlets.PHN (9.79 KB) 
    5.  I opened the nwctxt file in an already open NWC2 session.  NWC2 never generates error messages for me when I open the program.


    Object Plugins / Re: Beam.hmm (0.4)

    Looking forward to seeing your examples, HMMM, but I can't see any of these beam variations in the nwctxt files I downloaded/opened. 

    It seems to be a matter of not having the right fonts, or just not having set the fonts up in Page Setup. 

    What are the font settings?
    (It might be a good idea to add a small note to the tool popup saying which fonts are needed.)


    This might be good to explain

    What fonts . 
    What operating system?  Windows 10?

    48 was mentioned as part of a number of the original post's requests;... I still consider CueHeads as a workaround to having true cue-sized noteheads (which NWC already knows how to render for grace notes.)
    I think we agree on this.  Native cue note functionality would probably be better than a workaround, but I haven't tried the workaround recently to see how easy it is it use.  My concern here is not what I would call a true cue of only a few notes, but rather the  longer passages written for instruments that may not be present in the ensemble, so have to be covered on another instrument.
    I suppose you know that BarCounter.nw.nwcuser.lua does this too, do you?
    I think I knew this but forgot!  Thanks.
    ...I continue to be frustrated by:
    Not knowing what staff size I should make my scores. As a performer,  I often use smaller sizes to reduce the page turns. But it seems too small for others and I want it to look professional.
    How much space should be between systems? I like to enlarge the margins to get more on the page but some printers aren't happy with that and cutoff the lower notes.
    Choosing staff size: Sometimes I get it wrong and the music looks too big and thus intimidating (strange how our brains work!)
    The text issue: choosing font and size for things like " a tempo " and " rit" or "Unison. "
    These choices may be easier if you print to a PDF file rather than directly to your printer.  When printing from pdf to paper, my pdf programme gives a choice to  "reduce to printer margins" - I suspect that will take care of your note cut-off problem.

    The music I print is usually for older musicians, some of whom don't have great eyesight.  The standard NWC2STA size of 16 and the default settings for the other fonts seem to be good for most of my band members.

    Where I need to tweak the number of pages, I play with the distance between staffs, rather than the staff metrics.  And I've learned not to scrimp on pages.  If a piece takes three pages, it takes three.   I don't like to crowd the staffs to fit them on one sheet of paper.  To a large extent, the page breaks can be controlled in NWC2, and of course, three sheets taped together will fit a standard music stand without page turns.