It's always exciting learning something new about the program - I've really not experimented enough and had never used the marker insert, and the spacer I had only used before for extra space. You are all so helpful on this group - Thanks to everyone. Best wishes, Ann
Hi Mike = this is exactly what I was wanting and when i saw your sample in NWC, I selected the entire chord plus acciaccatura and moved the whole thing up and brilliant - the chord moved to the desired stem down, and acciaccatura stayed in position with stem up! When adding this into my file, do I just do what I did with the original plugin and add it to the stave before the clef? I will probably have to use your other script to move the acciaccatura a bit closer. When I'm finished, I'll post the file as a curiosity in the Scriptorium if Richard approves:)
Wow! Thank you so much, Hmmueller for your help, and also to Mike Shawaluk for the plugin. It worked brilliantly and now I'm not so concerned about the slur although it would be nice to have that one day - I had already experimented with the simple up/down option but to no avail as what I need is for the slur to be the underneath type just as the default is, but from the acciaccatura to the top note of the chord. But I'm thrilled with the look of the thing now! Thanks again!
I'm very embarrassed to post this, but where exactly should I paste this plugin? I've neglected Noteworthy for a long time now except for a few very minor quick things and have now written a little song in Afrikaans (about frogs) which needs acciaccaturas as a feature. I need the slash and then there's another problem, the crushed note is before a chord and I need the slur to go to the top note in each case - I've battled for a couple of days now to find a way of doing this without resorting to using a hidden extra stave.
Just one query - where are the "previous" and "next" buttons supposed to take you? Pressing "next" seems to take one back to the last page of the previous topic viewed - I'm a bit confused! (probably creeping senility)
Thanks for all the gadgets - how do I insert a picture? (just playing) Best wishes, Ann
Force System Break is invaluable when you are concerned with the printed look of the piece. You can use it to distribute the bars so that you don't end the piece with just one bar, or to distribute them neatly so that the ending bar is vertically in line with the others on the right hand side of the page. I use FSB all the time to ensure that instrumental page turns are where there are rests, or at least somewhere that gives the player time to flip the page over.
Also, to label each stave, (with the cursor on the stave you wish to label) Right Click and choose Staff Properties/General and type in the name you wish. You will not see the name on the editing screen, but it will show in print preview if you have set up the page as Noteworthy Online suggests.
Actually Cyril (replying to Reply 7), Duplets are frequently found in compound time - as much as triplets are found in simple time. eg. in 6/8 time, there would be 2 main beats in a bar (each being a dotted crotchet or quarter note) and each beat could be divided into the usual 3 quavers/8th notes or a duplet (2 quavers beamed with a 2 on top).
"I don't think I've ever seen a "6-let" to indicate 6 notes to be played in the time of 4. It's more common to see a group of 7 notes or perhaps 5 notes marked with a bracket and a 6, meaning play 7 notes (or 5 notes) in the time of 6 notes of the same value. This may be what you're seeing."
David, this isn't quite correct - The figure above always shows exactly how many notes you are splitting the main beat into. Thus a note which normally subdivides into 2 eg. a crotchet (quarter note), can be split into 3,5,6 etc However the time values employed change. In simple time, Still taking the note to be divided as a crotchet (quarter note), the time values would be as follows: 3 notes (triplet) would be written equal to 2 of the same kind. i.e. quavers (8th notes) 5, 6, 7 notes (quintuplet) would be written equal to 4 of the same kind. i.e. semiquavers (16th notes) 9,10,11,13,15 notes would be written equal to 8 of the same kind. i.e. demi-semiquavers (32nd notes) 17, 19 etc notes would be written equal to 16 of the same kind. i.e. hemi-demi-semiquavers (64th notes)
Of course if the main beat is a minim (half note), then the above values would be doubled, and if the main beat is a quaver (8th note), then the values would be halved, etc.
Compound time is treated slightly less consistently as there are commonly only two types of division - into 2 or into 4. So a dotted crotchet (quarter note)divided into 2 can be shown as either 2 quavers (8th notes) with the figure 2 above, or some composers occasionally show it as 2 crotchets (quarter notes) with the figure 2 above. In the same way, a dotted Crotchet (quarter note) can be divided into 4 shown as 4 semiquavers (16th notes) or sometimes as 4 quavers (8th notes). The same rules apply if the main beat is a dotted minim (half note) or a dotted quaver (8th note) with the values correspondingly being doubled or halved of course.
Thus in every case, the figure above shows the acutal divided number of notes - and the figure 6 representing 6 notes to be played in the time of four of the same kind is actually a very common occurrence. I've been notating a Kuhlau piece during the past few days which has many sextuplets and I have resorted to using the correct 6 notes beamed, but splitting them into 2 groups of triplets. Desired effect but not really visually acceptable - This multi-plet ability is one of my main pleas for the wishlist.
I hope I've explained things ok - I found I was getting a bit tangled between the two (US v. UK) value terms and also the halving and doubling - too early on this holiday morning to think!
I forgot to add this to my previous reply - David, the name you are looking for is Acciaccatura
In "real" musical life, these crushed notes are played as quickly as possible - one way of thinking of them is by playing the crushed note simultaneously with the main note, but lifting the crushed note finger immediately. The main note should always sound ON the beat - unlike the appoggiatura.
This has been one of my wishes for a long time - I get round it by using a hidden sounding stave with the grace note as a normal 32nd or 64th note belonging to the time value of the previous note, but it would be great to have the options of selecting which note you want the crushed note to "steal" time from. Until we can do this, the grace note remains an appoggiatura only.
Check that everywhere you have a cresc/decresc etc, you also have a dynamic inserted before and after the variance instruction. If your last instruction is pp followed later by a cresc. and the next dynamic you insert is also pp, then the cresc instruction won't have any effect.
My son had a similar problem playing CD-Rs on an old cd player, until he discovered that cds which had been written at high speeds (i.e. 48X) were incompatible, whereas if he tried writing them at lower (i.e. 12 - 16X) speeds, he had absolutely no problem reading them.
>Ok, Ann, but does this utility let me see the notes as they play ? ( after all I need it to accompany me)
No, it doesn't. Seems like MPCs are the only answer then.
What instrument you play? I'm just curious to know because stringed instruments can obviously be variously tuned, and most wind instruments can be fine-tuned by twisting sections of the segments. What happens when you play in an orchestra - does everyone have to tune to you?
You could save your Noteworthy piece as a midi file and then play it with something like Van Basco - this program lets you alter the pitch without altering the speed (alternatively, also lets you alter the speed without altering the pitch).
I suggest listen to your friends and go for singing lessons. Your teacher will help you find your best range, and suggest which category you fall into - this is not the best place to ask an opinion on something we can't hear.
For chords, enter one of the notes, then with the cursor on the right of that note, move it vertically to the line or space where another note should be, and press Ctrl-enter. Likewise, you can delete just one note of a chord by pressing Ctrl-delete.
If "scales" is meant to be "octaves" then I think what we've got here is a coloratura-soprano-profundo. This is a boon if you are going to audition for The Magic Flute. Just think - Sarastro could double as Queen of the Night.
A below middle C is not very low for a female. Altos should be able to go down to G easily with the occasional F and there is an Antiphon called "We wait for thy loving kindness o Lord" (if I remember the title correctly) which calls for the altos to produce a low E - I have it somewhere and will try to find out who the composer is.
You need to anchor them by specifying what dynamic you are crescendoing or decrescendoing from and to - e.g. pp cresc ff or mf decresc p etc. If you don't want these to show, then just make them invisible.
Hi Sarah, If you go to File/Page Setup/ and click on the Contents tab, you'll find the list of visible parts. Just uncheck any boxes next to parts which you DON'T want to appear and when you "OK" out of this, your score will now consist of only the part/s you wish to print. You can then space this as you wish by using a combination of staff size in points as well as vertical size, margin size; and by manipulating line breaks, you can include appropriate page turns etc.
With some files, I find it best to do as Milton suggests to get the basic "cleaner" looking file, but then often runs of 16th or 32nd notes turn into chord clusters, so its a good idea to import the file twice, and work with the cleaner one, and use the more involved one as reference for those faster note passages. It's usually quite a lot of hard work, Maxime, but so satisfying when you have eventually produced a score yourself which you can print out and play! This is one of the invaluable joys of using Noteworthy Composer.
Hi Marta, Sometimes when selecting the notes for beaming, the highlight touches the barline or maybe even another note - then the beaming option sometimes remains greyed. Make sure that you select only the notes you wish to beam. If a triplet figure is included in the group, then this also will not be able to be beamed. What are the note values of your group?
It's hard to tell why you are experiencing the print preview and print problem. Are all your staves the same length?
You can get the unnumbered bar effect if you use simple layering: For the intro part - On the top stave put hidden rests to the value of however many bars intro you don't want numbered. Don't use bar lines in this part of the top stave. Then on the next stave, write your music as you would normally write your top stave. Go to the top stave and in properties, check the box that says layer with next stave. Also in page set up make sure that your bar numbering starts at 0. Your bar numbering will then start at 1 for the stuff after the intro however long it is. Hope I described this ok - it worked for me
>is there any notional name for multiple members on the >same chord? (meaning, multiple notes on the same stick!)...
As Fred says, this is a "chord" and since the chord is vertical, it will also take any other notes in the same place in other staves into consideration, so it is quite possible for there to be only 2 notes to the stem on one stave. According to Eric Blom (Everyman's Dictionary of Music) : "Properly the sounding together of 3 or more notes, though 2 notes may imply others"
An interval is merely the distance between two notes - either horizontally consecutive, or on top of each other. i.e. not necessarily "on the same stick"
I remember one particular village fete when I was about 12, where the music in our local village hall was provided by an unusual trio - piano, saw (yes a real one, played with a violin bow) and musical spoons. I don't remember what was played though. The saw provides a very unearthly type of quivering sound - quite haunting.