If you are trying to hear NWC files playback, go into the NWC Tools Options Midi and play around with the settings.
If you're trying to listen to other sound files using Windows MediaPlayer or somesuch, go into its Tools Options Player tab and make sure "digital playback" is checked.
And I guess it goes without saying that you have speakers plugged into your soundcard, don't you? If they're amplified speakers, they might have a power switch to check. Sounds so obvious, but I'd check this before playing around with the software settings.
Audio Headquarters is a small suite of programs that should be on your Soundblaster setup CD.
There's a handy little bit of free-ware available from the PCMagazine site called end-it-all. It is a little more useful than Win98's ctrl-alt-delete. Gives you a good idea of what's running in the background on your system, and allows you to close or kill most of them.
Click on the utilities from A to Z link. Lots of useful stuff there, by the way.
You may have to register for the download. If so you'll have the option of subscribing to a few newsletters. Probably the only one you'll want is the daily usertips, if you want any at all.
I'd also recommend scanning your system immediately.
The trill figure can be achieved through a workaround using the user fonts Boxmarks or Boxmark2. Both have the trill designation "tr" with the squiggly line, and a second character which is just the squiggly line.
Load them as fonts, and then define one of the user font settings on the Page Setup tab to be this font. Then when you want the sign, you enter text (x) and type in the appropriate letter, setting UserFont 1 or 2, etc.
Note this is for printing only since this is a text entry. The playback won't be affected. To achieve the playback effect, simply add another staff, copy everything to it, and where you want the trill, just replace the trilled note with the appropriate number of alternating sixteenth or thirtysecond notes. Then hide all the notes in this playback staff, make sure to set the instrument and transpositions accordingly, then layer it with the staff you want printed.
I've recently seen an n-tuplet showing 5 notes in the time of 3 and a half, straddling a bar line. Bizarre!
Yes, a duplet is equivalent in timing to two of the notes being dotted, but I think there is a slight difference when you play them, a difference in interpretation. I might be wrong, but two dotted notes will be played with a slight emphasis on the second note, at the least a "breath pulse," but a duplet will be more of a stretching out of the time of the two notes. While they are noticeably different notes, they are a smoothed distortion of the time rather than an intended syncopation.
I recognize I'm on thin ice here, it's the way I perceive my friends and I interpret the figure, but we've never discussed it.
As to reply 8 from Stephen. My understanding is the copyright laws of the country you are physically doing the copying in are the rules that apply.
Fats Waller died in 1943. His compositions are public domain in Canada today (expired 50 years after his death), but are protected until 2018 in the US.
In Canada I can freely photocopy and distribute his compositions, but I'd be in trouble if I did that in the States.
The US copyright laws are well explained at the Library of Congress site, here:
This is from that site's FAQ The Sonny Bono Copyright Term Extension Act, signed into law on October 27, 1998, amends the provisions concerning duration of copyright protection. Effective immediately, the terms of copyright are generally extended for an additional 20 years. Specific provisions are as follows:
* For works created after January 1, 1978, copyright protection will endure for the life of the author plus an additional 70 years. In the case of a joint work, the term lasts for 70 years after the last surviving author’s death. For anonymous and pseudonymous works and works made for hire, the term will be 95 years from the year of first publication or 120 years from the year of creation, whichever expires first;
* For works created but not published or registered before January 1, 1978, the term endures for life of the author plus 70 years, but in no case will expire earlier than December 31, 2002. If the work is published before December 31, 2002, the term will not expire before December 31, 2047;
* For pre-1978 works still in their original or renewal term of copyright, the total term is extended to 95 years from the date that copyright was originally secured.
Play around with Tools/Options/Midi - if midimapper shows in the devices used by playback, try removing it to the available devices window. Actually move everything back into that window, then add them one at a time until you get the combination that works with your system.
I have Microsoft GS Wavetable ... plus SB Live MidiUart plus B: SBLive midi synth and A: SBLive midi synth
A couple of these obviously come with my soundcard, and I have no idea which of these make the sounds work correctly but they do.
Midimapper usually creates problems for some reason. I believe it is not part of Windows after Win98.
Also if you're running Mediaplayer, check the sound settings and if enable digital sound is off, try turning it on.
Why HIDDEN clefs? Put the treble clef in visibly, when back in reasonable range, insert the bass clef. NWC handles this well, and the right clef will be printed at the line breaks.
Another way is to put the chord names in the lyric lines. Click Ctrl-L. Entering them one at a time as insert text is a real nuisance.
The lyric editor takes a wee bit of getting used to, but you can use a word processor first to type out the names of all the chords you're going to use, in sequence. Put a space between each chord name, don't bother with enter.
Then copy the whole shebang into the lyric editor. Each name will line up with the next note.
This assumes your chords are used together with a written-out part, i.e., a moving bass line. If you are just using them with strum marks (which you create with text), you have to insert muted hidden notes wherever you want a chord name displayed, since the lyric editor places each "word" following a space at the next note.
If you are going to transpose the piece into another key, it's easy to copy the lyrics back into a word processor, make all the changes there, and then copy the result back in to replace the contents of the lyric editor.
Sorry, my grammar didn't work on this. I intended that to mean on the immediately following line. So if you have, say, a key change in the middle of the third line on your page, I don't remember if the copyist usually puts it also at the beginning of the fourth line. Certainly they usually don't show it on the fifth, sixth, seventh, etc.
Well, I think the words "not used at the same time" are fairly clear. If Uh-Oh stops using the program on machine A at 3 pm and the kid starts using it, on machine A OR on machine B, at 3 pm, there's no problem. If you want to have the machine in use on two machines at the same time, you need two licences. Perhaps Eric might consider some sort of network licencing, where the second licence would be cheaper? I don't imagine there are too many people who would need it though. Unlike a word processor in a place of business, I can't imagine too many times there would be a bunch of people networking to use this program.
It is more common in jazz and concert band music to use rehearsal letters instead of measure numbers. They usually come at the end of a phrase, and everyone can easily count "the sixth bar of letter B" etc.
Typically, the rehearsal letters will be 8 or 12 bars apart for traditional jazz. Other good places to insert a letter is where there's a key change or the beginning of a new theme if your piece isn't structured in phrases of a particular length.
I strongly recommend using the measure numbers only while in the editor, turn them off for printing. Set up a user font such as Boxmarks2 (available from the scriptorium,) and can then easily enter a boxed alphabet character as text.
The problem with having the bar number print at the beginning of each line on a printed out part is that other instruments may have a different number of measures in each line, so nobody has the same rehearsal marking to go to. If someone says, "let's take it at bar 48," only a few will have a measure 48 on the score.
I suggest you stay away from 5 bar groupings. That seldom conforms to the music on the score, so your conductor usually has to ask you to start playing at the beginning of some phrase that starts somewhere between the rehearsal markings. If you play an instrument that has a lead part, it's not hard to find, but if you're just playing accompaniment, it isn't always obvious on the page where one phrase ends and the next one begins.
Also, do everyone a favour and don't spread your rehearsal markings out too far. You waste a lot of rehearsal time when 45 musicians count their way back to the 34th measure before letter C.
The different colour is from the use of a different dye and a different reflective surface. Think of a CD as a shiny surface covered with paint (dye). The CD burner uses a laser to burn holes through a light sensitive layer of dye. Then when played back, another laser shoots a beam of light at the layer, and where there's a hole, the light reflects back. From there, the light wave is somehow converted to an audio signal. I have no idea how.
Different coloured dyes have different qualities, and all the dyes are light sensitive. I understand the greener the poorer quality? Nevertheless all your CD's should be stored in opaque cases to keep light out, since the dye is sensitive to it.
This site should tell you as much as you wish to know about CD burning, etc.:
Thanks to Dan Masi on the Community-Music email discussion list, let me pass on this website which contains pretty good info re ranges of many instruments and also singing ranges:
If you want the top line notes on the staff to have flags up and the bottom line to have flags down - it's easy. Enter the bottom note first, with the flag down toggle on (shift and down arrow). When you enter the top part, toggle the flag up before you enter the note (I have to press shift and up twice to make this work). Presto! both divisi lines (i.e. duet) can be printed on a single staff chart.
Oh, yeah, to enter the top note, do the same as you would when entering a second note of a chord - use Control Enter.
Entering multi-bar rests in single staff charts: use Insert Text
The first bit of text to enter is a few blank spaces (just press the space bar 5 or ten times), preserve width, and click "OK"
Insert Text again and hit the space bar about 10 times about 20 times, type the number of bars the rest should last. Under the Expression Placement tab, select DO NOT preserve width, staff position 2, OK.
Insert Text a third time, use the pipe symbol "|", 19 equal signs "=", and the pipe symbol again, preserve width, staff position 0, OK.
Repeat step 1.
Press tab to give you the bar line at the end of the measure.
This should give you an entire bar that you can then copy as often as you like throughout the piece. This only inserts a printed multibar rest - the program won't count it as more than one bar, so you shouldn't use it if you are using the bar numbering feature, and you shouldn't use it if you're printing full scores or piano scores.
