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Messages - tsoilihoi

2
General Discussion / how to alternate note values for a three note chord.
I can make a chord where the top note is a half-note, the next a quarter-note and the lowest, a quarter note.  However
I never can make a chord where the top is a half-note, the next is a quarter-note and the lowest is another half-note.
It will not let me do it... so I convert the lowest to a quarter-note (or the same as the 2nd value)

so half,quarter,quarter chord works but half, quarter, half does not.
3
General Discussion / how to deal with orphan notes on a staff stretching to the right margin
I am trying to notate a course method for violin and am having problems with orphan lines.  I read a few posts suggesting changing the note font size in page setup or changing the boundaries.  There is only so much that I can do with the controls that were mentioned.
One area is corrected and another not.  As long as the end of a staff is married to the right margin, I am not sure how to avoid a few notes spread across a whole staff line.  In the pic I am attaching, I force system breaks and  change boundaries to allow for spacing and text.  But as you can see, certain lines that end with a few notes become distorted and stretched.  I am hoping there is a command to deal with this rather than massaging the note and staff boundaries to negate orphans.  Staves 3 and 6 are affected and changing the note font size or the boundaries fixes a couple and messes with others.  Unless something can be applied that affects only a particular system then a change to the whole document seems to have its pros and cons.  Is it necessary for all staff lines to end against the right margin or can they be made to truncate early?

PB
5
General Discussion / A "0" errant artifact appears in this piece when printed or print previewed.
Hello.  An unusual artifact has appeared in one of my compositions.  a "0", (page small text, font) has appeared at the 2nd beat of bar 25 and is located just below the first ledger line.  It doesn't show up on the main workspace, but does in the print and print preview!

When I delete the notation in bar 25, the artifact jumps to the same position in another bar.  Its not traveling with respect to the
the notation, nor the single staff.  There is no layering.  When I cut and paste the arrangement to a new staff, the artifact travels with the paste to the new workspace.  It is a "0", from the page small text that I use for violin fingering.

6
General Discussion / grace note slurring problem
In Ave Maria by Shubert, I want to slur from the quarter note to the two sixteenth grace notes...
However when I highlight the D to just before the d grace note the slur jumps and extends from the D to the Middle C.
I need to constrain it to the Ded  as in grace note problem 1.jpg  not like the grace note problem 2.
7
General Discussion / Tremolo and Note Value.
On a published score, tremolo was written with two quarter notes with the tremolo sign between them; the tremolo occupying 1 quarter beat.  When I duplicated that on the composer, of course the two quarter notes were each counted and now occupied 2 quarter beats.
In the end I just wrote out the tremolo with 8, 32 notes.  The other choice was to use 2 eights with the tremolo sign between them, if I was not concerned about "hearing" tremolo on playback.  My question is... How can I place 2 quarter notes on the staff with a tremolo sign between them and have them only count as a single quarter beat... just for appearance sake.  Grace notes seem not to be a problem.
thx
8
General Discussion / Is there a way to change all "best fit" to "at next note or bar"
I am aware that after choosing "at next note or bar" for placement of a fingering or violin bowing, that subsequent entries with be set to "at next note or bar."  In some of my earlier works for the violin part I used "best fit" for the markings.  Now I am adding a piano part and pasting the violin part on this new page... Well the piano part causes the violin parts markings to shift around.  Some maintain integrity and some move erratically.  So I have to highlight each marking, right click and change it to "at next note or bar."  This is easier than writing out the whole thing long hand, lol, but a pain.

If there were a way in the set up to opt for "at next note or bar" that would be nice, particularly if the whole piece was using "best fit."  Perhaps, there is a way to change all in mass?  If so I don't have a clue.

I'm getting mouse over-use wrist pain clicking away!

PB
9
General Discussion / Re: Trouble in Windows 10... Musical Win 10 after the cresc.ttf font is installed!
thanks for your input!  I went to Scriptorium and ownloaded the Cresc.ttf from the site, installed it
and all is well.  The file I extracted was older and perhaps corrupt as you mentioned...
Today I downloaded some updates from Microsoft.  Perhaps one of the updates dealt with the issue.

The problematic Cresc.ttf font was 51k dated 1-13-2000  I thought that I copied it from a noteworthy site today
however the page you directed me to isn't the same one. 

Thanks again for looking into this.
10
General Discussion / Trouble in Windows 10... Musical Win 10 after the cresc.ttf font is installed!
Ever typed a letter with cresc.ttf... now you can.
With the installation of the cresc. ttf font in Win 10, Microsoft Word (setup with times new roman,) Google Drives log in screen, Google Drive's local program and other google related sites using times new roman and default text fonts like courier new are being linked to cresc.ttf.  When cresc.ttf is installed in the system this bug occurs... when uninstalled it goes away.

I checked this with a google tech from the Google Apps division using a freshly download cresc. zip.  Obviously a windows bug, cresc.ttf is being substituted for a number of standard fonts. See attached.
12
General Discussion / Re: When note values exceed the allowed in the bar.
 :)  thank you both!  When I looked at your examples all became apparent!  Of course...
As for creating a staff to layer, I guess I could create a document and save it with a staff with rests, kind of a template and paste that quickly when needed.

One last quickie. Is there an easy way to select one or the other layered staves from the workspace or must one uncheck allow layering from the page set up, split them to get to the respective properties menu.
13
General Discussion / When note values exceed the allowed in the bar.
I attached the original bar from a piano book.  Half notes shown are meant to be held but their additive values are greater that the 4 beats.
So, of course, the composer treats the bar as having 7 beats.  Pic 1 is what I have to do to make it work. So I layered a staff shown in pic 2... The question is how to make the half notes appear but only hold the value of a quarter note.  I guess I have to show the note on the 2nd (layered) staff but not have it count and put a quarter rest on the 1st one and make it invisible. 

(I am pretty sure that I'm doing this the hard way as this situation occurs often in piano notation.  Creating a second staff to layer, putting in whole not rests and bars lines, and hiding those rests and bar lines is time consuming.  Sometimes just for one or two little fixes.)

I have switched to the latest version of Noteworthy, (pictured.)  I believe that this version must handle some of these situations.

Perhaps there are other post covering this... I'm a bit overwhelmed and making up solutions on the fly!

Paul
14
General Discussion / Re: Notation of violin harmonics - layering?
Warren, I see you are a violinist.  The two attached are my first full use of 2.5.1.  It looks pretty good to me.  I haven't yet delved into things that are different from 1.75c. I'll make small mention about the pieces while keeping my focus on the use of the composer.

I have attached the violin part as I conceived them.  This was at first a transcription of a Heifetz clip on youtube.  However, I added a double stop portion which he used in Estrellita, as it seemed a natural.  In addition, his violin does far better in the higher positions, owing to it's superior quality.  There for some of the cadenzas are handled in the lower positions to add more depth than my violin is capable of in the regions he played them in.   This is my original work.  I had fun watching and writing it down.  I didn't include the nwc file as the boxmark2.ttf needs to be installed for the bowings and I am assuming you are interested in the arrangement rather than how I produced it on Noteworthy.  I am also including Intermezzo in the style of JH.  In records that followed after the movie(s), cadenzas were shortened... the subsequent versions are thus different than Provost's original composition. Utilizing 2.5.1 really sped up the process of notation.  If you want the alterations for the accompaniments, I placed them on www.maestrostudio.net. 

PB
15
General Discussion / Re: Mass coversion to the latest nwc file type.
I guess I'll wait and convert as I use files.  The nwc-conv.exe will not convert like format types.  So nwc (1.75) to nwc (2.51) gives an error message.  The program states its for converting nwc to nwctext or midi.  Not to upgrade files.  So I'll pull the old ones out of the pot and re-heat them as needed. LOL
16
General Discussion / Re: Mass coversion to the latest nwc file type.
Thank you Lawrie and Rick.  Yes, I'm good with command lines.  I can wait, but its my way to stay with or move on.  I think that moving
to full use of the latest, reading faqs and this forum will help.  I basically write violin parts, finger and bow them and put them on my site.
I had several excellent teachers and have a great friend, so its my intention to share the wealth, so to speak.  So I'm not composing, I just have to do my best to stay away from Finale a program that tries my patience.  The more noteworthy does, the better I like it, love it.

PB
17
General Discussion / Notation of violin harmonics - layering?
I wanted to run this by the forum. The attached... this is how I handled the notation of violin harmonics for La Fille aux Cheveaux de Lin.  Then layered the two staffs.  Perhaps there is a better way.  See attached, please.

PB
18
General Discussion / Re: How to notate a half note that is held while playing the next quarter note.
Seems I've got more info then I bargained for, Thanks to all.
I tried a vertical offset of a rest but my version only allows 50 (and I guess -50) otherwise its out of range.
Editing the text is fine but it won't paste back and at this point I am out of my league.  I'll have to look over the forum
and some of the more specific faq to learn more about edit mode.  For now I want to convert the 1.75c files to 2.51 and I posted a question a bit ago as to whether there is a way to convert 500 plus files in a less tedious manner.  But that's the subject of the other post.
I had to use 2.51 for the violin arrangement of La Fille aux Cheveux de Lin, a problem that 2.51 handled well.  So its upgrade my head time!

PB
19
General Discussion / Mass coversion to the latest nwc file type.
Okay.  So I've been convinced to use version 2.55 and have 535 .nwc files from version 1.75.
Any thoughts on a strategy to convert.. or do it as needed?  I suspect that 1.75 will work in windows 10, but if not,
it will be mass conversion time.  I'm surprised the Noteworthy hasn't put together a batch converter.

PB
22
General Discussion / Re: How to notate a half note that is held while playing the next quarter note.
Well thanks.  I pasted the code into 2.51 and I see how you did that.... the rest chord tab.  I am thinking that this can not be done in 1.75?

(Most of what I do is in the earlier version.  A lot of anchors and stuff going on in the newer version.  I seem to be stuck in the old one.  It works with win 8.1 and I was not forced to change.  I guess I should kick my self and convert everything.)
23
General Discussion / How to notate a half note that is held while playing the next quarter note.
In the pictures below, a half-note sounds across beats 2 and 3 in a proper way when it is used as an interval with a quarter-note.
However as in picture 02, if it is notated as a single half-note it adds another beat to the bar.... so I am forced to change the value to a quarter-note to keep things status quot (as in picture 3)...  I guess the second beat could be a quarter-note tied to a same note (quarter-note) as an interval in the 3rd beat as in picture 04.  But that's wierd.

In past I have created another layer, hidden the 2nd beat's note as a quarter-note on the original staff and allowed the half-note to be seen and heard on the 2nd layer.  This is awkward and time consuming, requiring me to hide the prior bars with whole rests which are not shown.  Is there an easier way without layering?

25
General Discussion / no note to tie to... (La Fille aux Cheveux de Lin)
I used layering to solve the problem but its not the perfect answer since the stemming is a bit wierd.

in pic "1-staff", The interval is tied to the next, but since there are no lower note to tie to, the lower tie extends to the right looking for a like note.

So I layered the staff, putting the lower notes of the interval on the 2nd staff, pic "staff2"

The result is ok, but the two quarter notes, when merged, create a weird looking stem.
see pic "staff3" and "staff4".  In this a sys"stemmic" problem?

26
General Discussion / Re: notating tuplets so that the audit bar lines feature can be used.
(pardon me if this is a duplicate,  I ran into logging problems.)
BTW Greg, what is digital whiteout? I will need it for below.

This has been a nice discussion.  I have come away knowing how to cut and past noteworthy.
It kind of bothers me that we have to fool the program.  I tried my finale and sibelius programs
and they bother me more!  So what I have decided is the 6 tuplets will be handled by a triplet
beam across all, as in greg's example.  I will notate a 5 tuplet as a duplet and a triplet.
like this. 
!NoteWorthyComposerClip(2.0,Single)
|Clef|Type:Treble
|TimeSig|Signature:4/4
|Rest|Dur:4th
|Rest|Dur:4th
|Rest|Dur:4th
|Rest|Dur:8th
|Note|Dur:32nd,Triplet=First|Pos:-1|Opts:Stem=Up,Beam=First
|Note|Dur:32nd,Triplet|Pos:-1|Opts:Stem=Up,Beam
|Note|Dur:32nd,Triplet|Pos:-1|Opts:Stem=Up,Beam=End
|Note|Dur:32nd,Triplet|Pos:-1|Opts:Stem=Up,Beam=First
|Note|Dur:32nd,Triplet|Pos:-1|Opts:Stem=Up,Beam
|Note|Dur:32nd,Triplet=End|Pos:-1|Opts:Stem=Up,Beam=End
|Bar
|Rest|Dur:4th
|Rest|Dur:4th
|Rest|Dur:4th
|Rest|Dur:8th
|Note|Dur:32nd|Pos:-2|Opts:Stem=Up,Beam=First
|Note|Dur:32nd|Pos:-2|Opts:Stem=Up,Beam=End
|Note|Dur:32nd,Triplet=First|Pos:-2|Opts:Stem=Up,Beam=First
|Note|Dur:32nd,Triplet|Pos:-2|Opts:Stem=Up,Beam
|Note|Dur:32nd,Triplet=End|Pos:-2|Opts:Stem=Up,Beam=End
!NoteWorthyComposerClip-End

Thanks.

PB
27
General Discussion / Re: notating tuplets so that the audit bar lines feature can be used.
I compared rick's notation using the triplet to my notation above.  I placed his on one staff
and mine on a second one under it.  Mine was longer and I could not get them to sync up.

If I am not mistaken my expanded line is why rick warned me to look at warren's tip on
using hidden notes on co-comittant notes in a competing voice (staff).  that would expand a second
staff to line up.  In this case where an eight note is followed by 6 32nds (in the time of an eighth note.) Is greg's eighth note followed by 6 32s under a triplet beam really the same.  I am inclined to believe that
Greg's triplet beam is correct as it speeds up the 32nds to fit in the time of an eight beat.  Where as using
34/32 at the beginning of that bar forces the audit bar to cooperate, the six notes are not compressed in
1/8 beat duration but span the same time that 6 normal 32nds would (an eight and one-half of an eight beat).  am I making sense?

Dimitri Tiomkin used 5-tup,6 tup and 7 tup in his deguello (from the alamo) These were trumpet
riffs.  i got the score from the wonderful people at the USC film library.  A wonderful resource.
Interestingly enough much of deguello was not played as he first wrote it for Rio Bravo and
as it is notated for the alamo.  It underwent significant change for the final film version.


28
General Discussion / Re: notating tuplets so that the audit bar lines feature can be used.
Thanks David and Warren.  So I just learned how to cut and paste a sample, thank you David

I think I've got the concept, I hope.
Here is my actual example from Deguello using a 32nd 6-tuplet...

!NoteWorthyComposerClip(2.0,Single)
|TimeSig|Signature:4/4
|Text|Text:"Am"|Font:PageSmallText|Pos:15
|Note|Dur:16th|Pos:1|Opts:Stem=Up,Beam=First
|Note|Dur:16th|Pos:0|Opts:Stem=Up,Beam
|Note|Dur:16th|Pos:-1|Opts:Stem=Up,Beam
|Note|Dur:16th|Pos:-2|Opts:Stem=Up,Beam=End
|Note|Dur:Half|Pos:-1^
|Note|Dur:4th|Pos:-1
|Bar
|TimeSig|Signature:34/32
|Note|Dur:16th|Pos:-1|Opts:Stem=Up,Beam=First
|Note|Dur:8th,Dotted,Accent|Pos:-1^|Opts:Stem=Up,Beam=End
|Note|Dur:8th,Dotted|Pos:-1|Opts:Stem=Up,Beam=First
|Note|Dur:16th|Pos:-1|Opts:Stem=Up,Beam=End
|Note|Dur:16th|Pos:-1|Opts:Stem=Up,Beam=First
|Note|Dur:8th,Dotted,Accent|Pos:-1^|Opts:Stem=Up,Beam=End
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=First
|Note|Dur:32nd|Pos:-2|Opts:Stem=Up,Beam
|Note|Dur:32nd|Pos:-1|Opts:Stem=Up,Beam
|Text|Text:"6"|Font:StaffLyric|Pos:14
|Note|Dur:32nd|Pos:1|Opts:Stem=Up,Beam
|Note|Dur:32nd|Pos:0|Opts:Stem=Up,Beam
|Note|Dur:32nd|Pos:-1|Opts:Stem=Up,Beam
|Note|Dur:32nd|Pos:-2|Opts:Stem=Up,Beam=End
|Bar
|TimeSig|Signature:4/4
|Text|Text:"Dm"|Font:StaffLyric|Pos:8
|Note|Dur:Half,Dotted|Pos:-1^
|Note|Dur:8th,Dotted|Pos:-1|Opts:Stem=Up,Beam=First
|Note|Dur:16th|Pos:-1|Opts:Stem=Up,Beam=End
!NoteWorthyComposerClip-End


Thanks.
29
General Discussion / Re: notating tuplets so that the audit bar lines feature can be used.
I guess I am getting confused by changing tempo and time signature

In my example...
The staff is 4/4 and all notes are 8th.   The second beat is 5-tuplet.  What I did was..
using 5/4= 1.25   I multiplied 1.25 by the tempo which was 80 and changed the tempo temporarily
to 100. Then back to 80 after the tuplet.  This is why I said it "sounds right"

You all are saying I should change the time signature.  But to what?   I tried this...
 4/4 xxxx (5/4) xxxxx (4/4) xxxx xxxx  where the x is an eight note.

when I use the audit barline feature I would expect to get...

 4/4 xxxx (5/4) xxxxx|(4/4) xxxx xxxx  but instead I get this   4/4 xxxx|5/4 xxxxx|4/4 xxxx xxxx


 a bar of 4 eights, a bar of 5 eights, and finally a bar of 8 eighths.  Perhaps someone can tell me what signature to use for bar 2 and how you derived it.  Then
I think I will get it.  Sorry for being so thick about this.

PB


30
General Discussion / Re: notating tuplets so that the audit bar lines feature can be used.
Thanks for the tip.  However my problem is not one of accurate audio replay.  Doing as directed, above, it sounds great, but when applying the audit barlines, the program messes up.  n-Tuplets are common.  As I said gracenotes seem not to be counted and perhaps there is a way to make one of the 5 notes invisible to the auditor.  Frankly this is a feature that needs to be incorporated; for auto-beam as well.
Any other ideas.

PB
31
General Discussion / notating tuplets so that the audit bar lines feature can be used.
I have read that certain tempo values can be calculated should one want to say play 5 sixteenths over a quarter beat.  I am not concerned with playback as to maintaining the use of the audit barlines feature.
It seems that gracenotes are ignored.  In the example above is there a way to cause audit barlines to ignore one of the sixteeths?  Any easy work around?  My end goal is too print the music.

PB