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Messages - SEBC

1
Code: (nwc) [Select · Download]
!NoteWorthyComposerClip(2.751,Single)
|Bar|Style:Double
|Text|Text:"Swing 8ths"|Font:StaffItalic|Pos:11
|User|BarLabel.ms|Pos:13.5|Text:C|Scale:130|Visibility:SingleStaff
|RestChord|Dur:4th|Opts:Stem=Down,ArticulationsOnStem|Dur2:Half|Pos2:-3
|Chord|Dur:4th|Pos:-8,-6|Opts:Stem=Down
|RestChord|Dur:4th|Opts:Stem=Down,ArticulationsOnStem|Dur2:4th,Dotted|Pos2:-3
|Chord|Dur:4th|Pos:-7,-5|Opts:Stem=Down
|Note|Dur:8th|Pos:-2|Opts:Stem=Up
!NoteWorthyComposerClip-End

How can I get the last eighth note to sit correctly within the 4/4 measure?

Thanks!
2
Thanks, that worked fine.

Now, I have been sent a file in .mxl format. I don't seem to be able to import it straight into NWC. Is there a trick?
3
Hi
I can't remember how to do this. I need to send a file to a Finale user, and maintain the lyrics. I think XML is involved. Is that done within NWC or do I need to find a conversion tool online?

Thanks for you help!
4
General Discussion / Re: Neumes and more
Thanks, Mike. Your version is definitely better! I did download the fonts as well.

I forgot about the preserve width setting. I need to start using it!
5
Oh, I like those options, Mike!

Could you show me what you mean with the gliss object? The thickness is supposed to be the same as a beam.
6
General Discussion / Re: Neumes and more
Lillypond does have some helpful information on the stylistic qualities of chants and ancient notation. I just don't want to have to learn a new program when I can barely handle this one.  ;)

http://lilypond.org/doc/v2.18/Documentation/notation/chants-psalms-and-hymns

http://lilypond.org/doc/v2.18/Documentation/notation/ancient-notation
7
Thanks, Rick. That's a good replication. Did it take very long to accomplish?

I tried to reproduce some proportional notation but it's tricky to get the thick lines longer. Here are some examples of trial runs.

8
General Discussion / Re: Neumes and more
Thanks for your ideas but I would like to see if NWC could handle this.

Here are some attempts:

Code: (nwc) [Select · Download]
!NoteWorthyComposerClip(2.751,Single)
|Text|Text:"ʗ"|Font:StaffBold|Scale:200|Pos:1.5
|Text|Text:"ꝟ"|Font:PageText|Pos:-13.5
|Spacer|Width:225
|Note|Dur:Whole|Pos:0g|Opts:Stem=Down
|Note|Dur:32nd|Pos:0g|Opts:Stem=Down|Visibility:Never
|Note|Dur:32nd|Pos:0g|Opts:Stem=Down|Visibility:Never
|Note|Dur:4th|Pos:0g|Opts:Stem=Down,StemLength=0
|Note|Dur:4th|Pos:-2g|Opts:Stem=Down,StemLength=0
|Note|Dur:4th|Pos:0g|Opts:Stem=Down,StemLength=0
|Text|Text:"′"|Font:PageText|Pos:3
|Note|Dur:4th|Pos:-1g|Opts:Stem=Down,StemLength=0
|Note|Dur:4th|Pos:0g|Opts:Stem=Down,StemLength=0
|Note|Dur:4th,Dotted|Pos:0g|Opts:Stem=Down,StemLength=0
|Text|Text:"\}"|Font:PageSmallText|Scale:50|Pos:1
|Spacer|Width:125
|Note|Dur:4th|Pos:0g|Opts:Stem=Down,StemLength=0
|Note|Dur:4th|Pos:0g|Opts:Stem=Down,StemLength=0
|Note|Dur:4th|Pos:0g|Opts:Stem=Down,StemLength=0
|Note|Dur:4th|Pos:0g|Opts:Stem=Down,StemLength=0
|Note|Dur:4th|Pos:0g|Opts:Stem=Down,StemLength=0
|Note|Dur:4th,Dotted|Pos:-2g|Opts:Stem=Down,StemLength=0
|Bar|Style:Double
|Text|Text:"ꝶ"|Font:PageText|Pos:-13.5|Color:1
|Spacer|Width:300|Color:1
|Note|Dur:4th|Pos:-1g|Opts:Stem=Down,StemLength=0|Color:1
|Note|Dur:4th|Pos:-1g|Opts:Stem=Down,StemLength=0|Color:1
|Note|Dur:4th|Pos:-1g|Opts:Stem=Down,StemLength=0|Color:1
|Text|Text:"′"|Font:PageText|Pos:3|Color:1
|Note|Dur:4th|Pos:-1g|Opts:Stem=Down,StemLength=0|Color:1
|Note|Dur:4th|Pos:-3g|Opts:Stem=Down,StemLength=0|Color:1
|Note|Dur:4th,Dotted|Pos:-1g|Opts:Stem=Down,StemLength=0|Color:1
|Bar|Style:Double
|Boundary|Style:NewSystem|NewPage:N
!NoteWorthyComposerClip-End

I don't like the spacing of the first three words. I attempted a different approach:

Code: (nwc) [Select · Download]
!NoteWorthyComposerClip(2.751,Single)
|Text|Text:"ʗ"|Font:StaffBold|Scale:200|Pos:1.5
|Text|Text:"ꝟ"|Font:PageText|Pos:-13.5
|Spacer|Width:575
|Note|Dur:Whole|Pos:0g|Opts:Stem=Down
|Spacer|Width:525
|Note|Dur:4th|Pos:0g|Opts:Stem=Down,StemLength=0
|Note|Dur:4th|Pos:-2g|Opts:Stem=Down,StemLength=0
|Note|Dur:4th|Pos:0g|Opts:Stem=Down,StemLength=0
|Text|Text:"′"|Font:PageText|Pos:3
|Note|Dur:4th|Pos:-1g|Opts:Stem=Down,StemLength=0
|Note|Dur:4th|Pos:0g|Opts:Stem=Down,StemLength=0
|Note|Dur:4th,Dotted|Pos:0g|Opts:Stem=Down,StemLength=0
|Text|Text:"\}"|Font:PageSmallText|Scale:50|Pos:1
|Spacer|Width:125
|Note|Dur:4th|Pos:0g|Opts:Stem=Down,StemLength=0
|Note|Dur:4th|Pos:0g|Opts:Stem=Down,StemLength=0
|Note|Dur:4th|Pos:0g|Opts:Stem=Down,StemLength=0
|Note|Dur:4th|Pos:0g|Opts:Stem=Down,StemLength=0
|Note|Dur:4th|Pos:0g|Opts:Stem=Down,StemLength=0
|Note|Dur:4th,Dotted|Pos:-2g|Opts:Stem=Down,StemLength=0
|Bar|Style:Double
|Text|Text:"ꝶ"|Font:PageText|Pos:-13.5|Color:1
|Spacer|Width:300|Color:1
|Note|Dur:4th|Pos:-1g|Opts:Stem=Down,StemLength=0|Color:1
|Note|Dur:4th|Pos:-1g|Opts:Stem=Down,StemLength=0|Color:1
|Note|Dur:4th|Pos:-1g|Opts:Stem=Down,StemLength=0|Color:1
|Text|Text:"′"|Font:PageText|Pos:3|Color:1
|Note|Dur:4th|Pos:-1g|Opts:Stem=Down,StemLength=0|Color:1
|Note|Dur:4th|Pos:-3g|Opts:Stem=Down,StemLength=0|Color:1
|Note|Dur:4th,Dotted|Pos:-1g|Opts:Stem=Down,StemLength=0|Color:1
|Bar|Style:Double
|Boundary|Style:NewSystem|NewPage:N
!NoteWorthyComposerClip-End

but this doesn't quite fix the problem either.

Can you see the lyrics? If not, I will attach the files.

I used red for the response since I still don't know how to do italics easily. The "C" in the beginning is my attempt to copy that internet example.

Mike S, what say you?
9
Thank you, Warren, for the example. When I did just cello and conductor, there were a few things that I'd have to adjust in the cello part.
10
General Discussion / Neumes and more
Any idea how to best notate this:

https://www.nku.edu/~gartigw/gospel_table_080519_files/A-Advent%201%20RCL%20Matthew%2024_36-44%20(2%20pages)%20101112.pdf[/b]

maybe use the shaped la note in whole  note form for the open rectangle and stemless quarter note form for the solid rectangle? What about the other parts of the score - lyrics, tiny bar lines, etc.?

The last post on this topic was 11 years ago.

Thanks
11
I realized that there is a separate setting for which stave I am adding the Connectbarlines to...when I corrected that, then the barlines were the correct length (or Height, I guess). I just put them at the second last bar to get the final connection.

I'm not sure if it's always needed. I just grabbed a handful of recently published choral scores and none of them had it. It is nice to have the option though.

When would you use it in the middle of a piece?

What are your thoughts on the necessity of it? I haven't checked BB yet. I asked my composition prof and she said that it was ok to not use it.
12
Thanks for some suggestions. I didn't even think to look in BB for examples of notation. I shall do that and attach some photos. Would it be possible for someone to develop tools for NWC to enable these notations?

I have already experimented with removing all stems, bar lines, and reducing the staff lines to 1, then using colours on the noteheads with a legend explaining the colours. It looks slightly different but not alarmingly so. It leaves it up to the performers to determine some things like actual pitch and quality. It's totally exploratory for me at this stage.

I like the heart score. It is very old (14th century, I believe)

13
Hi Geoff

If you see this reply, could you upload a photo of what the score ends up looking like? What are the pros and cons of this approach?

I still haven't figured out how to run a "script". :(

I have a certain degree of technophobia in that I'm afraid to do anything that will mess up my computer because I can't afford to be without it for any length of time...  :o And I also have general ignorance about a lot of computer topics. I know how to do what I know how to do,  not the thinking or logic behind it.
14
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:

!NoteWorthyComposerClip(2.751,Single)
|Clef|Type:Treble
|Text|Text:"(      )"|Font:PageText|Scale:70|Pos:-14|Justify:Center|Placement:AtNextNote
|Text|Text:"Concert pitch"|Font:StaffBold|Pos:14|Placement:BestFitForward
|Note|Dur:Half|Pos:b-14
|Spacer|Width:150
|Note|Dur:Half|Pos:b-12
|Spacer|Width:125
|User|Glissando.ms|Pos:-13|Text:
|Note|Dur:Half|Pos:7
|Spacer|Width:125
|Text|Text:"(      )"|Font:PageText|Scale:70|Pos:12|Justify:Center|Placement:AtNextNote
|Note|Dur:Half|Pos:11|Opts:Stem=Down
|Spacer|Width:200
|Bar
|Text|Text:"Notated as"|Font:StaffBold|Pos:14|Placement:BestFitForward
|Note|Dur:Half|Pos:-13
|Spacer|Width:150
|Note|Dur:Half|Pos:b-11
|Spacer|Width:125
|User|Glissando.ms|Pos:-13|Text:
|Note|Dur:Half|Pos:8
|Spacer|Width:125
|Text|Text:"(      )"|Font:PageText|Scale:70|Pos:12|Justify:Center|Placement:AtNextNote
|Note|Dur:Half|Pos:12|Opts:Stem=Down
|Spacer|Width:150
!NoteWorthyComposerClip-End



Sorry, David, I missed your response in the flurry of getting back to my studies. The beginner ranges change depending on which book I consult. I am not familiar with the one that you mentioned.

How do I get the nwc example you posted to show up in NWC? I can't remember how to do that.
15
Thanks for the responses.

Thanks, Mike, for your quick and easy method to printing parts. I forgot that was an option and it would be a good way to ensure that the parts are the most current version, rather than having a separate file languishing while I make edits to the main score. I have been caught with my "notes down" before when I forgot to update the file.

You've given me a few things to think about:

Tempo Tracks - I am inconsistent with using one. Sometimes I just include the tempos in one or all of the parts I am writing. It's visually messy unless I hide some of them. My concern is that when I am printing just a part, that the tempo wouldn't be there, but can I control that with the visibility settings if it is on a tempo track? Same thing with the rehearsal letters, which I do use. I figured out that I can include them in different staves and set the visibility to print when it's just that part being printed, but can I also just put the rehearsal mark in the tempo track as well and set the visibility for printing? I think that Warren and David are doing it differently, and I am wondering if there are pros and cons of each approach?

Thanks again for your help with this. I have been a NWC user since version 1 and am still learning how to use the new and not so new advanced features. Did I miss a tutorial or document that explains everything? I've worked through the version 2.75 materials that I could find and they were still quite basic.


16
Hey Mike

I am going to try using my computer instead of my phone.

If you are interested, there are some cool looking scores in this article:
https://www.classicfm.com/discover-music/latest/graphic-scores-art-music-pictures/

I'm not necessarily looking to be that avantgarde...
17
I'm going to be doing some experimental scores for a graduate project. What capabilities does NWC offer for this type of thing?

I have an example from Roger Dean's Creative Improvisation".  The lines of beamed notes are diagonal as opposed to straight across.

I'm unable to upload the photo example for some reason. 😞

There are other possibilities I'm interested in as well.

Thanks
18
I have been thinking about the things that I don't know how to do in NWC.

One of them is part printing/set up.

I have been doing this by hand - preparing a separate part based on the master score. Basically, I delete all the other parts and save under the single part (ex. "flute only" or "choral only" or "voices only" as opposed to "choral flute piano" I think there is an easier way to do this, but I don't know how yet. I found this thread but it is 7-9 years old. Could someone please update the topic or let me know if this still applies?

https://forum.noteworthycomposer.com/?topic=2316.msg56422#msg56422

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?

Thanks
19
Hi Harald

I have just installed the connectbarlines object but it doesn't seem to work with a layered choral score where the SA are layered together and the TB are layered together. I get one longer line for the women and men but it doesn't connect up. Do you know what I am doing incorrectly?

Thanks
20
Here is what I came up with, plus I have a cheat sheet of comments from orchestrations manuals on how to write for the oboe.


Does this look sensible? I'm thinking of adding all the winds then doing a separate one for brass, strings, percussion etc.
21
Object Plugins / Re: CueStaff.hmm (0.6)
The only problem I can see is that the wind intro is optional, and if that option is not used then the piano will play a more elaborate version of what they would have played with the wind instrument (incorporating the wind notes). I am not sure what is the best way to show these options.
22
I'm posting on this old thread to see if I can get some help with italics.

When the instructions say to use the clipboard, what exactly is that? Is it in NWC or in a text editor?

How do you run the .vbs ?

I have a feeling this gets done outside of NWC.

Thanks and Merry Christmas!!
23
Object Plugins / Re: CueStaff.hmm (0.6)
I am composing a choral piece with an optional oboe introduction. If the director chooses not to use the oboe, then I'd like the piano to play a combo of the notes that were distributed to the oboe plus the piano part. I was considering using a cue segment to show the combined piano part. Maybe it would be simpler to show the single line wind part instead in a cue segment.

Do you have any thoughts on this? Also, will it be possible to collapse that cue stave segment so that it doesn't take up room in the score when it is not needed?
24
Here is what I came up with, plus I have a cheat sheet of comments from orchestrations manuals on how to write for the oboe.
25
Is there any way to do two or three circles around each note? I'd like to do dynamics as well. Some instruments are counter-intuitive for dynamics, such as the oboe which is loud in its lower register and soft in its high register.
26
Thanks for the help getting it installed properly. I'm off to figure out how to use. You may hear back from me! 8)
27
General Discussion / Re: transpose
This still catches me from time to time, but it's a quick and easy fix.
28
I'm still looking...
29
It's embarrassing to be so computer inept.
30
I downloaded it and now it is in my user tool window. How do I get it into the box that I access by pressing J  ? (If that's where it is supposed to be)

When I said I needed step by step directions, I was telling the truth.  :-[




31
How do I run the tool?  :o
32
It's definitely a craft! I'm blessed to have musicians willing to work with me and correct my writing. I just performed five new pieces with piano, oboe and vocals on two of them.
I'm going to start with an oboe template and see if that helps me remember the details!

Do you have any oboe suggestions?

I downloaded  your marker but I need step by step directions to use it. Could I colour the notes above the staff as blue for Thin tone and the Lower notes as orange for warm and out of range notes as red? How will I use it  to help me in a new piece?

Thanks
33
Thanks! Very helpful info there!
34
I like to compose by ear, and I have an idea to help me learn orchestration: create templates for each instrument showing range, idiomatic figurations and use highlight colours to indicate problematic areas, change in timbre, etc.

Does this exist already?

What else would you include?

What about transposing instruments...do the templates in concert pitch?

Thank you for your feedback,
SEBC
 
35
General Discussion / Orchestration pdfs
These orchestration pdfs seem to no longer be on the Scriptorium. Does anyone have a copy to share?
36
That's a lot of great info there! Thanks so much for sharing it.

I am a complete novice when it comes to brass instrumentation, conventions, idioms, etc. I've been locked in my art song tower for a while, lol. I write very serious works...but every now and then I just have to compose something that sounds fun and happy. Now I just have to learn to do it with integrity so that performers won't scoff, ha ha.

As far as the notation goes, I think I see that the actual quarter notes, etc. have a different hand-drawn look to them in that article. Is there a way to change that in NWC? I did discover your swing fonts. Is there a difference between them that I should know about or is it just a matter of taste?

Thanks again.
37
I'm branching out! I've got some jazzy compositions for brass solo instrument and piano accompaniment. I hear trombone in my head because of its jaunty quality. What do I need to know about this combo?
Is there a way to make the score look handwritten and articulated like in this document?:
http://www.timusic.net/wp-content/uploads/jazz+artikulation.pdf
Any tips for taking the piano part and breaking it into orchestration for other instruments so that it becomes a band arrangement?

I know there are some experts here and look forward to learning from you.
38
Is there a way to insert a harp pedal diagram in the score?
They look like this:
https://www.scoringnotes.com/wp-content/uploads/2016/09/musescore-harp-1.png

Also, could you explain how to notate a pedal change?

Thanks
39
I confirm everything Bill wrote.

I'd add a note regarding "overlapping" hands. The harpists try to keep the fingers on the strings as much as they can to dump the resonances (imagine playing piano with the sustain pedal always pressed...) and also to play louder. When the hands "mix up" the things gets easily messy. Alternate them as much as you can.
Usually an acceptable surrogate of a chromatic scale, practically impossible on the harp, is a simple glissato.
Remember that you can make two adjacent strings play the same note (e.g. C# and Db). This is often used to play fast, odd "scales" simply with a glissato.
Modern "jazzy" players use pedal bending, pedal half tone/tone portamento, soundboard clapping and clusters. (An example for all: Pearl Chertok's "Around the clock", that includes Harpicide at midnight)
Last but not least: don't forget the wonderful sound of the harp harmonics! (Normally only octave harmonics.)

That was great! Didn't know harps could play jazz. Thanks for sharing.

I have a first draft, and was told that it's sight readable, so clearly there's not enough going on yet!
40
Thanks for those pointers, Bill. My pianistic ways lead me astray. It's always good advice to find someone to show you the ropes. I think there are a few harpists on this forum. It was the instrument that I wanted to play as a child, but my mother called the local university to ask about the cost of lessons and instrument. She got off the phone and said, "I think we'll get a piano." I am still interested in giving it a try one day.

I am fortunate that my master's studies have brought two eager harpists into my life this fall who have offered to workshop my piece. I was hoping to give them something mostly playable for our first time together! I've got my orchestration manuals out...they refer to pedal charts at the beginning of the piece. Is that doable in NWC?

I'm also wondering about balancing things out with the flute. I'm inclined to notate the flute's dynamics one level lower than the harp. Do you have any opinion on that?

Ha, Mike! You're allowed to be funny because you're so helpful around here!
41
Good morning

I am currently attempting to write my first piece for pedal harp and flute. I've written for piano and flute before, but I'd appreciate any tips for the idiosyncrasies of the harp, and how to notate things in NWC, and get a good playback. This will be performed by actual performers, but it's nice to have a sample recording to get an idea of how it sounds. It's a Celtic ballad sounding piece. The harp and flute take turns with the melody at times, but mostly the harp is providing arpeggiated accompaniment.

Thanks
42
That was fun.
43
General Discussion / Re: Support???
I think this is a very important discussion!!

I have years of scores invested in NWC. What would happen if it is abandoned?

Would the website become inactive and would we have to start up a new support forum?

Would the very clever users continue to develop tools and objects?
44
The marker is a great tool. I have been frustrated by out-of-control triplets for years.

Cyberhymnal, thanks for the work that you have put into your website. It is a resource that I always check when I start arranging a new sacred piece. It saves me some time. (What would really save me more time would be if the melody was always available alone without harmonization!)
45
Thanks, I understand the process now, but it really took a long time to set it up. Next time will be faster, unless someone comes up with a user object for me!

Thanks for all your help.
46
I just copied and clipped the beginning few measures and the spacing between staves is not the original spacing.
Thanks!
47
I'm back!


This is what I have used and everything is great except for that initial connection line connecting it to the other instrumental staves. Is there a way to eliminate it? I'm excited to report that a handbell group and children's choir will be performing this original composition together this Christmas.

Thanks for your help!

!NoteWorthyComposerClip(2.751,Single)
|User|CueHeads.ms|Pos:-3|Class:StaffSig
|Rest|Dur:8th|Visibility:Never
|Rest|Dur:8th|Visibility:Never
|Rest|Dur:8th|Visibility:Never
|Clef|Type:Treble
|User|XText.hmm|Pos:6|Justification:Center|Text1:"Bells Used"|Font1:PageTitleText|Scale1:50
|Note|Dur:4th|Pos:b-7z|Opts:StemLength=0,Muted
|Note|Dur:4th|Pos:-6z|Opts:StemLength=0,Muted
|Note|Dur:4th|Pos:-5z|Opts:StemLength=0,Muted
|Note|Dur:4th|Pos:b-4z|Opts:StemLength=0,Muted
|Note|Dur:4th|Pos:-3z|Opts:StemLength=0,Muted
|Note|Dur:4th|Pos:-2z|Opts:StemLength=0,Muted
|Note|Dur:4th|Pos:-1z|Opts:StemLength=0,Muted
|Note|Dur:4th|Pos:b0z|Opts:StemLength=0,Muted
|Note|Dur:4th|Pos:1z|Opts:StemLength=0,Muted
|Note|Dur:4th|Pos:2z|Opts:StemLength=0,Muted
|Note|Dur:4th|Pos:b3z|Opts:StemLength=0,Muted
|Note|Dur:4th|Pos:4z|Opts:StemLength=0,Muted
|Note|Dur:4th|Pos:5z|Opts:StemLength=0,Muted
|Note|Dur:4th|Pos:6z|Opts:StemLength=0,Muted
|Note|Dur:4th|Pos:b7z|Opts:StemLength=0,Muted
|Note|Dur:4th|Pos:8z|Opts:StemLength=0,Muted
|Boundary|Style:Collapse
|Bar|Visibility:Never
|Rest|Dur:Half|Visibility:Never
|Rest|Dur:8th|Visibility:Never
|Bar
|Rest|Dur:Whole|Visibility:Never
!NoteWorthyComposerClip-End

48
The lining up part doesn't bother me but the squiggles seem to be going past the measure bar a tiny bit. This would be quicker unless there's a lot of fiddling around to do.

Code: (nwc) [Select · Download]

!NoteWorthyComposerClip(2.751,Single)
|Text|Text:"Sk"|Font:PageSmallText|Pos:7
|Chord|Dur:Half|Pos:-3,-1,1,4|Opts:Stem=Down
|Text|Text:""|Font:StaffSymbols|Pos:2|Justify:Right
|Text|Text:""|Font:StaffSymbols|Pos:0|Justify:Right
|Text|Text:""|Font:StaffSymbols|Pos:-2|Justify:Right
|Text|Text:""|Font:StaffSymbols|Pos:-4|Justify:Right
|Bar
|Chord|Dur:Half|Pos:-3,-1,1,4|Opts:Stem=Down
|Text|Text:""|Font:StaffSymbols|Pos:2|Justify:Right
|Text|Text:""|Font:StaffSymbols|Pos:0|Justify:Right
|Text|Text:""|Font:StaffSymbols|Pos:-2|Justify:Right
|Text|Text:""|Font:StaffSymbols|Pos:-4|Justify:Right
|Bar
|Rest|Dur:4th
|Rest|Dur:4th
|Rest|Dur:4th
|Rest|Dur:4th
|Rest|Dur:4th
!NoteWorthyComposerClip-End


49
Thanks for sharing that. It was quite time-consuming to do for a chord member. I wonder if there is an easier way that doesn't involve the x and y axes? I thought maybe there might be a text character, but didn't find one in the character map.

Code: (nwc) [Select · Download]
!NoteWorthyComposerClip(2.751,Single)
|Text|Text:"Sk"|Font:PageSmallText|Pos:7
|Chord|Dur:Half|Pos:-3,-1,1,4|Opts:Stem=Down
|User|Glissando.ms|Pos:0|Class:Span|Pen:wavy|Text:|Weight:1.1|EndOffsetX:-1.5|StartOffsetY:1.5
|User|Glissando.ms|Pos:2|Class:Span|Pen:wavy|Text:|Weight:1.1|EndOffsetX:-1.5|StartOffsetY:3.5
|User|Glissando.ms|Pos:4|Class:Span|Pen:wavy|Text:|Weight:1.1|EndOffsetX:-1.5|StartOffsetY:5.5
|User|Glissando.ms|Pos:-2.5|Class:Span|Pen:wavy|Text:|Weight:1.1|EndOffsetX:-1.5|StartOffsetY:-0.5
!NoteWorthyComposerClip-End

50
I am attempting to use the first method described above but an having some trouble with allignment since I had to take out the bass clef on bells used and add some more notes: from Bb below middle C up to high C (two octaves above middle C). I had just cut and paste the first chart into my score and adapted from there. The result is that the bells used aren't in the middle but at the left margin.

Code: (nwc) [Select · Download]
!NoteWorthyComposerClip(2.751,Single)
|Boundary|Style:Gap|Width:2000|SystemConnections:N
|User|XText.hmm|Pos:7|Font1:PageText|Text1:"Handbells Used"
|Bar|Style:Transparent
|Clef|Type:Treble
|Note|Dur:4th|Pos:b-7
|Note|Dur:4th|Pos:-6|Opts:Muted
|Note|Dur:4th|Pos:-5|Opts:Muted
|Note|Dur:4th|Pos:b-4|Opts:Muted
|Note|Dur:4th|Pos:-3|Opts:Muted
|Note|Dur:4th|Pos:-2|Opts:Muted
|Note|Dur:4th|Pos:-1|Opts:Muted
|Note|Dur:4th|Pos:b0|Opts:Muted
|Note|Dur:4th|Pos:1|Opts:Muted
|Note|Dur:4th|Pos:2|Opts:Stem=Down
|Note|Dur:4th|Pos:b3|Opts:Stem=Down
|Note|Dur:4th|Pos:4|Opts:Stem=Down
|Note|Dur:4th|Pos:6
|Note|Dur:4th|Pos:7|Opts:Stem=Down
|Note|Dur:4th|Pos:8|Opts:Stem=Down
|Ending|Endings:1|Visibility:Never
|Boundary|Style:Gap|Width:2000|SystemConnections:N
|Boundary|Style:Collapse
|Bar|SysBreak:Y
|Rest|Dur:Whole
!NoteWorthyComposerClip-End

I'm not sure how to copy and paste all the staves at once. This is the bells used stave.


Thanks for your help