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Messages - Flurmy

1401
General Discussion / Re: Broken bars
Quote
I liked Flurmy's composition

Sic!
That's not my composition. Halas, I'm not a composer at all...
That piece was composed by Mussorgski.
All I did was to transcribe it in NWC. If you mean that for "composing"... ok, it's my work. :-)
(By the way: soon you'll have the whole Mussorgski's piano works in the scripto.)

Quote
Cross-hands passages like this aren't uncommon.

Not uncommon at all!

In this case, if you try to imagine a pianist playing the measures 59-62 using the right hand to play what's written in the upper staff and the left hand playing what's in the lower one you'll discover that's the most natural and comfortable way to play it.

Off topic: it was funny when the harp teacher tried to explain me how to assign the notes of the grand staff to the hands. The thing was absolutely obvious for me.
She always forgot that I was not a true beginner in music and that I play keyboards too.
1402
General Discussion / Re: Accents
Quote
You have stumbled into a host of reasons why layering was added ten years ago.

Already ten years? Gosh!

If my memory doesn't cheat me, when I tried NWC for the first time layering was "provisional"...

Thank you mates.
1404
General Discussion / Re: Dot position
Easy answer: simply put the dotted notes at the right (as in the original printed score) and the undotted at the left.
1405
General Discussion / Dot position
I think the dot position in this snippet is horrible:
Code: [Select · Download]
|Chord|Dur:4th|Pos:-3o|Opts:Stem=Down|Dur2:Half,Dotted|Pos2:-3o,1o|Color:0|Visibility:Default

Of course, using layering...
1406
General Discussion / Broken bars
In the example attached, having some layered staves that end before the end of the piece, the bar lines in the grand staff are broken. I mean: the bar lines are two segments with a hole in the middle.
Is it there a reason for that behaviour?
1407
General Discussion / Accents
Here I can't put the accent where I need it:
Code: [Select · Download]
!NoteWorthyComposerClip(2.0,Single)
|Chord|Dur:8th|Pos:-4,0|Opts:Stem=Up,Beam=First|Dur2:4th|Pos2:-4
|Chord|Dur:8th|Pos:0,5|Opts:Stem=Up,Beam=End
|Chord|Dur:8th|Pos:-4,0|Opts:Stem=Up,Beam=First|Dur2:4th|Pos2:-4
|Chord|Dur:8th|Pos:0,5|Opts:Stem=Up,Beam=End
!NoteWorthyComposerClip-End

What I'd like to have is something like:
Code: [Select · Download]
!NoteWorthyComposerClip(2.0,Single)
|Chord|Dur:8th|Pos:-4,0|Opts:Stem=Up,Beam=First|Dur2:4th,Accent|Pos2:-4
|Chord|Dur:8th|Pos:0,5|Opts:Stem=Up,Beam=End
|Chord|Dur:8th|Pos:-4,0|Opts:Stem=Up,Beam=First|Dur2:4th,Accent|Pos2:-4
|Chord|Dur:8th|Pos:0,5|Opts:Stem=Up,Beam=End
!NoteWorthyComposerClip-End

Here the accent is in the wrong note:
Code: [Select · Download]
!NoteWorthyComposerClip(2.0,Single)
|Chord|Dur:8th,Staccato|Pos:0|Opts:Stem=Up,Beam=First,ArticulationsOnStem|Dur2:4th|Pos2:0^
|Note|Dur:8th,Staccato|Pos:#2|Opts:Stem=Up,Beam=End,ArticulationsOnStem
|Chord|Dur:8th,Accent|Pos:0|Opts:Stem=Down,ArticulationsOnStem|Dur2:8th|Pos2:4
!NoteWorthyComposerClip-End
It should be on the upper F but I found no way to put it there; that is, this snippet doesn't work:
Code: [Select · Download]
!NoteWorthyComposerClip(2.0,Single)
|Chord|Dur:8th,Staccato|Pos:0|Opts:Stem=Up,Beam=First,ArticulationsOnStem|Dur2:4th|Pos2:0^
|Note|Dur:8th,Staccato|Pos:#2|Opts:Stem=Up,Beam=End,ArticulationsOnStem
|Chord|Dur:8th|Pos:0|Opts:Stem=Down,ArticulationsOnStem|Dur2:8th,Accent|Pos2:4
!NoteWorthyComposerClip-End

Of course I can easily solve the problems using layering, but the thing surprised me.

A last thing.
I found no way to remove the accent using the GUI. I had to copy, edit and paste back.
Code: [Select · Download]
|RestChord|Dur:8th|Opts:Stem=Down,ArticulationsOnStem|Dur2:4th,Accent|Pos2:-1o|Color:0|Visibility:Default
1409
General Discussion / Re: THE FANTASTIC NOTEWORTHY COMPOSER POLKA COMPETITION
Up to the end of the XIXth century, the folk music of my region was saltarello, manfrina, trescone etc.
Then, at the beginning of the XXth century, there was the sudden spread of waltz, mazurkas and polkas that completely (and I mean really completely) cancelled the previous tradition.

It's quite funny that our "local" folk is based on northern (form our point of view) rhythms.

Of course, the original rhythms were bent to the local taste so our folk music has an original feel.

That style is called "ballo liscio" (smooth dance) or simply "liscio".
The name comes from the fact that the dancers slide or rub the feet instead of jumping, so it was said they "go on smoothly" even if in reality there is also a kind of polka called "polca saltata" ("jumping polka").

Having said that, I should be in a good position to participate to the contest.

Halas, it's not so.
It's by far better if I refrain from trying to compose a polka myself, trust me!
And transcribing/arranging one of the good polkas of the tradition clashes with the fact that the musics are relatively recent so not yet in the public domain.

Add to this that my computer decided to "retire" himself (grrr...) and I have to use my faithful 486 with NWC for Win3.11...

I think I have to skip this contest.

Good luck, mates!
1411
General Discussion / Re: And now for something a bit different...
Quote
the stage manager killed the spotlight, leaving me totally in the dark...

In a concert two years ago, exactly when I was starting playing the most difficult part of the whole concert, the guitarist turned on the smoke machine on my side...
1412
General Discussion / Re: Wrong math?
Quote
If I captured the realtime output, I'd end up measuring the latency of MIDI-OX

If the latency of MIDI-OX is constant, as it must be to have a jitterless playback for MIDI is a real time interface... or at least it should be, then all you have is a simple time shift (delay) that's completely unimportant in this case. No other instrument to be in synch with and no reference to any "absolute" time.

Quote
and possibly my software synth.

I really can't get what a SW synth has to do with the capture of a MIDI event stream.
Anyway this discussion is purely academic. Dont' worry.

Quote
I finally retired my SB AWE32 (and its hardware synth) after 10 years...

I retired my new computer instead.
Heck, I mean, the motherboard retired itself from work...
N.B. My 486 vintage '92 keeps working fine. ;-)

Quote
* The linear functions should be exponential

Which functions do you mean?
   
Quote
* Augmentation dots need to figure into the calculations

Uh? Do they not?
The percents are almost the same with and without the dots: 100% - 93% - 62% - 25%
1413
General Discussion / Re: Wrong math?
Interesting.

Quote
Calculated by sending this file to midi and analyzing it with a script.

You mean you exported it to MIDI or you captured the MIDI output of NWC?
I think to remember that there can be some difference.

Quote
There are some large and unexpected transitions here

I'm surprised.
When you have to divide, let's say, 10 ticks on three notes then I understand some jitter and you need to find a solution of compromise. But when workiing on hundreds of tics I don't understand why such a big spread of ratios.

Anyway, I think it's the fact of having the gaps proportional to note duration that can lead to the effect I encountered.

Thank you Rick.
1414
General Discussion / Re: Wrong math?
Good old Rick on the rescue: you got it!

I suppose this has to do with the normal note shortening inserted to not always have the legato, but I don't understand why notes of different duration should end in different instants.
Are the small gaps proportional to note duration?

Could you please explain it with more detail?
1415
General Discussion / Re: Wrong math?
No, Richard, it doesn't work.
Even removing both the tempo changes (20 and 40) the F# is still longer.
1417
General Discussion / Re: octave notes
Quote from: Rob den Heijer –
coll. 8va or coll. 8va basso: colla parte in octaves.

I never saw it before and I was wondering what "coll." could stand for.
Now that you explained I got it: it's miswritten.
The right way is "coll'8va" or "coll'8va bassa" (or also "coll'8va al basso")

N.B. "colla parte" is archaic (before XXth century); today it's written "con la parte" and, likewise, "coll'ottava" today is "con l'ottava"

I learned something today. Thanks mates.
1418
General Discussion / Re: And now for something a bit different...
A week ago I did a concert with my group.
There was also my friend that plays trombone with pistons.

I don't know for sure, but I suppose the drummer enjoyed the wine at the dinner before the concert.
He started all the pieces at a quick pace... then he accelerated!
The singers had lot of troubles trying to sing all the words of the songs at that speed.
Of course the feeling of the songs was simply not existent: only speed.

As Lawrie said: What a rush!

What's more: when the songs finished, the drummer was either still since at least a couple of bars or still playing alone. We didn't get any final right!

Bah! I can say it was by far our worst concert in ten years.

But what a rush!
1420
General Discussion / Re: File Permission Problem
Hi Rick.

I tried with win2000 and there is the same problem but with a little difference: I get the message "the folder is in use" and the file is NOT deleted.
1421
General Discussion / Re: HELP PLEASE!
Quote
M$, in their infinite wisdom, chose to remove that functionality - and have reduced it even further in vista - you don't even have an applet to change the default synth anymore...

Wow!
Remove that and what remains?
What's the "MIDI mapper" business now? Only to fool the NWC users? :-)

I stumbled upon http://www.winehq.org/docs/winedev-guide/mm-conf that's (a little bit) enlightening.
Now I have to investigate the files .IDF.

I'm glad the whole thing is now purely out of curiosity (at least for me!).
1422
General Discussion / Re: HELP PLEASE!
When I worked with Win 3.11 (yesteryear, that is :-), MIDI mapper had a very useful function: I always used it to remap the GM patches and drum instruments to and from the GEM WS2 mapping.

Indeed that's what MIDI mapper was for, isn't it?

Then I changed keyboard. My Yamaha is always by default GM compliant and with XG on, so I completely dismissed the good old MIDI mapper.

Now I still have the same Yamaha keyboard but I upgraded my computer (HW & SW) with the latest win2000 ;-).
Of course, I still don't need the MIDI mapper services but, out of curiosity, I was looking for a way to program it as I did in the old times: I found no way.

What's the use of a MIDI mapper not programmable?

Or, more probable, where the ass behind my keyboard should have looked to find the MIDI mapper setting tool?
1423
General Discussion / Re: Realistic Sounds and Embouchure
Quote from: jjj –
Sadly this "Software Community" does not notify me if anyone posts so, please send me an email. Thx   :)

Well, in this community it's rare that more than a day passes without a post so, IMO, a warning mail soon becomes annoying.

If you log in before reading the messages, the messages you alredy read are marked as such so the next time you log in you can spot at a glance what's new.
I find this very useful.
1424
General Discussion / Re: Realistic Sounds and Embouchure
Quote
that alone already introduces rich emotional creative values (the soul) into the music

Last week I went to a concert with three theremin.
If you really want to have such a deep control on the instrument why not to learn to play theremin?

You must be very skillful to avoid too much portamento (too much is boring), but the result, with a really good theremin, is that you have a "human" vocalize that doesn't need to take breath and easily spans 5 octaves...

The most amazing thing was to look at a video in which Pamelia Kurstin played a left-handed theremin using the hands in the very same way as if she was playing a one-stringed contrabass.
The walking bass with a theremin... incredible!

N.B. I think I'd would feel easier to play theremin with pitch on the left and volume on the right. Why? I don't know, maybe violin, banjo or guitar heritage.
1426
General Discussion / Re: Il trillo del diavolo
Quote
Probably best to do this as Lawrie did, on another staff.

Of course I was well aware of that possibility and I also agree with Rick (and Lawrie).

What I was completely unaware of was the other limitation:
Quote
All the grace notes will sound but 16 or more cause the note borrowed from to be muted.

Now I understand some odd effects I encountered in the Haydn "Stücke für Flötenuhr"!

It seemed natural to me that, until the sum of the grace notes does not exceed the duration of the note borrowed from, the grace notes are played normally, then the borrowed note keeps what remains.

Why such a limitation?

BTW: Rick is great as usual.
1427
General Discussion / Il trillo del diavolo
that is: what the hell of a trill...

As Lawrie wrote:
Quote
In NWC, a grace note is fixed at a 32nd note (demisemiquaver) duration.

I wrote a trill like this (see attachement).

Why the trill stops early?
And why the final note doesn't play?
1431
General Discussion / Re: Export multiple midi files, one for each staff
I completely forgot about that program.
What a pity there's not the same for NWC2.

Why not simply add, as jonashogstrom suggested, a little handling of the command line to NWC2?
For example: in this case there is no need of a stdout (that windows can't use if the program is not in pure console mode...).

Of course the old problem of the "non ASCII" letters in the filenames still applies.
1432
General Discussion / Re: Unbreakable triplets
Quote
Shift +12 would sound like the Bass Clef even though the actual notes were on the Treble Clef.

Uh? Maybe -12?

Quote
Shifted, rather than transposed.

Sorry Rick, I still don't understand.
Do you mean that, while the true clef remains the same, in this way you can put a fake one (text) and let the playback be adjusted on it? If it's so, what's different from the transpose?
Still asleep... bear for me.
1433
General Discussion / Re: MIDI Import has bug when part rhythms differ: not worthy of Noteworthy!
Quote
Nicholas Hatier's MusicXML import has never caused a problem for me...  Nor have I heard of other reports of it crashing NWC

So do I.

Quote
mentally thank Nicholas every time I used his program.

So do I this too :-)

Quote
A MIDI file simply does not have any notation data in it.

Not completely true, Lawrie.
Being that the overall concept you exposed is correct, in special mode when you say "MIDI is not the best vehicle for trying to transfer notation from one product to another", in reality a little bit of data for notation is present.
For example, unless recorded without a metronome or purposedly garbled, every MIDI file has the TicksPerQuarter parameter that helps recovering the note duration to write.
There is also the (optional) 'Key Signature' event that, differently from NWC that loses this information, keeps the difference between minor and major.
And then there are the XF extensions (not very diffused, in reality) like the ChordName event...

I can guess your comment: pedant! You're right, Lawrie. Sorry.
1434
General Discussion / Re: Untying syncopated eights into quarters.
Rick is great as usual!

Quote
I couldn't make a User Tool to reliably do this.

In this case I see more effective a "macro" than a user tool.
But NWC doesn't support macros and the ancient win31 macro recorder/player is a bit obsolete.

Not having macros, what about using H (not the German for B! :-) for "hide", that is, Visibility->Never?
I long for it...
1435
General Discussion / Resizable columns
In the "Score review" dialog the columns are resizables. (Discovered by chance)
It would be easier to do if the separating line are made visible.

What about adding the "group" property too?
1436
General Discussion / Re: Unbreakable triplets
Quote
IMO, it would be nonsense to put a key change in a triplet.

IMO too!
Sorry Rick, I was fooled by the verbatim translation: indeed "chiave" (literally "key") must be translated correctly as "clef". And by the way: "key" is usually translated in Italian as "tonalità".

Quote
In some cases, you can use Instrument->Transpose (but if you need to hide accidentals, it not worth the effort).

...unless, that is, you simply do an octave shift.
Ok, it's not a true Clef change...

Quote
Too bad that the Instrument patch does not have a 'Shift Notes' spinbox.

Sorry, I didn't get this. What do you mean with 'Shift Notes' spinbox?
(N.B. I know what's a spinbox!)

Thank you, mate.
1437
General Discussion / Unbreakable triplets
Having to deal with an exaggerated span, I was trying to put a key change inside a triplet.
No way, as far as I can go.
Look here:

Code: [Select · Download]
!NoteWorthyComposerClip(2.0,Single)
|Note|Dur:8th,Triplet=First|Pos:-3|Opts:Stem=Down,Beam=First
|Note|Dur:8th,Triplet|Pos:10|Opts:Stem=Down,Beam
|Note|Dur:8th,Triplet=End|Pos:b14|Opts:Stem=Down,Beam=End
!NoteWorthyComposerClip-End

Code: [Select · Download]
!NoteWorthyComposerClip(2.0,Single)
|Clef|Type:Bass
|Note|Dur:8th|Pos:-3|Opts:Stem=Down
|Clef|Type:Treble
|Note|Dur:8th|Pos:-2|Opts:Stem=Down
|Note|Dur:8th|Pos:b2|Opts:Stem=Down
!NoteWorthyComposerClip-End

Anyone a good idea?
1438
General Discussion / Re: Entering Chord Names
Quote
Flurmy, does this apply to Do-Si as well - Do# etc?

Sorry Lawrie, I skipped this step.
The answer is yes, of course it does.

Quote
What about Maj, M, min, m, sus etc?  Do I need to change these?

Easy: no.

Quote
For those who are not currently able to access the NG, there are instructions here

The instructions lacks the sentence: "ask the SysAdmin to open the firewall to the NTTP"... :-(
Anyway don't worry for me, go ahead.
1441
General Discussion / Re: Entering Chord Names
Quote
I suggest we wait for Flurmy to give us the Italian, although I think I know what it is.

Here I am and I'm sure you already know the answer: sharp is "diesis", flat is "bemolle" and natural is "bequadro".
"Double sharp" and "double flat" are respectively "doppio diesis" and "doppio bemolle".

N.B. "bemolle" = "B" molle = soft B, floppy B (not the PC hardware!)
"bequadro" = "B" quadro = "B" quadrato = squared B

Quote
I cannot find any other coherence for the name than historical roots of music. So if you use German (Germanic) as adjective, there won't be any primary relation to Germany as a country for us

I think this is the best we can do about it.
1442
General Discussion / Re: Kind off topic...
Quote
What i am truly looking for a set of sounfonts, in a format similar to the yahmaha, which only requires software.

I think you're making a little confusion between the soundfont and the synthetiser.
Once you have a synthetiser supporting soundfonts, it doesn't matter if via HW or SW, you can use all the soundfonts you prefer: Yamaha, Creative or whatever (provided they are in a standard file format, that is).

What I think you're asking for is a software synthetiser and Richard already answered that.
1443
General Discussion / Re: Entering Chord Names
Quote
As mentioned above (but apparently unnoticed) you still need 'S' for Eb in the German system.

Really?
I didn't know that, not to say having saw it in use.
I read it in your previous message but I was thinking it was a Dmitri Shostakovich's prerogative...

By the way: http://en.wikipedia.org/wiki/Note says nothing about it.
1444
General Discussion / Re: Entering Chord Names
Errata corrige:
Quote
Sometimes I need the roman numerals.

Nope. I never actually used it.
I just saw them once (in a lifetime) for the use we are talking here.
When I needed them was to indicate parts, in which case a good old plain text element is all that's needed...

Second errata: I was thinking of two fonts; one with A, B, C... and the other with A, H, C...
I completely forgot that if B = H then Bb = B. (And it was me that wrote "do you remember B-A-C-H"!)

I need to think more about it.
Sorry mates, lately I have my brain partially disconnected. :-(

1445
General Discussion / Re: Entering Chord Names
Sorry but as yet I had no time to dig the matter as needed.
Anyway, thank you very much Lawrie for all your works.

Quote
One font to try and do the lot, or separate fonts for Germanic (H), Italian (do re mi) and Roman numeral alternatives?

At first I was leaning toward all in a single file, but using different files for different standards has a couple of big advantages:
1) if you want to change standard you simply change the user font. Nothing more.
2) Even when changing standard, all the relevant tools need not be changed at all. That char means that chord in whatever standard you use.

Quote
Do we really need multiple case options for the sol-fa syllables?  My own thought on this is to have mixed case: Do, Re, Mi, Fa, Sol, La, Si

Of course it's a matter of personal taste (I saw everything and the opposite), but my opinion is that one version could be enough and mixed case can be OK.

Quote
Probably means extra work for you to produce several versions but that way you dont compromise what you already have.

That's another advantage...

I use indifferently both the A..G and the Do..Si system, but some of the guys that play with me feel more comfortable with Do..Si, so an easy way to switch system is welcome.
(Indeed: https://forum.noteworthycomposer.com/?topic=6320.0)
I never use(d) the "H" system.
Sometimes I need the roman numerals.
1446
General Discussion / Re: Entering Chord Names
Quote
I suspect Lawrie uses "sol-fa" because that's the name of the system of vocal sight-reading using the do-re-mi syllables that's taught in most English-speaking countries. (Officially, it's "tonic sol-fa," but the full name is rarely seen.) I believe you have something similar in Italy, called "solfeggio."

Wow, I didn't know that "solfeggio" is called "sol-fa" in english.
Thank you Bill!

In italian there is also the term "solfa" (no dash) that means melody, singsong, lullaby... and rigmarole. :-)
1448
General Discussion / Re: Entering Chord Names
The thing is not so easy, so I need some to think carefully about it.

My very first draft idea (absolutely unpondered yet) is to have all the letters (upper & lower case) and numbers at their places, so you can write whatever you want (A, B, C... H... do, re, mi, Do , Re, Mi... I, II, III, IV...) and mapping the symbols to the remaining keys.
I think that using the upper ANSI part (128 <= chars < 256) can be tricky for... "non programmers".
Are the ASCII symbols enough to map everithing? I didn't count them but I don't think so.
As I told before, this is just a draft of an idea...

Quote
Have I matched the sol-fa correctly?

Yes Lawrie, you did.
But why you talk about sol-fa?
I'd rather talk about la-sol (i.e. A..G) or, as we do usually, do..si (UT queant laxis / REsonare fibris / MIra gestorum / FAmuli tuorum...).

By the way: are the French still using UT?
1449
General Discussion / Re: Entering Chord Names
Quote
Better give me some specific details guys...  Including text examples.

Lawrie, in order to have uniformity of typecase to have both H (as B natural) and B (as Bb) can be useful for someone (e.g. Rike).

In my case I would need all the letters for "do", "re", "mi", "fa", "sol", "la", "si" and, to be flexible, in both upper and lower case (it's a matter of taste)... and possibly in the corresponding ASCII position.
Obviously impossible.
N.B. I was kidding!

What a pity we can not mix two fonts on a single text object: the note name from a normal text font and the chord "type" from your font.
1450
General Discussion / Re: Phrase break question.
"Cæsura" is the original latin spelling.
The most often used spelling I saw is the italian "cesura".

By the way: the actual sound is the same, unless you use the German latin reading: "ka-esura"...