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Messages - David Palmquist

51
General Discussion / Re: what key signature/cleff
Frank, in addition to what Lawrie has explained, when you get these odd clefs you can sometimes decipher them by examining the key signature. 

In traditional western music key signatures, the flats and sharps will always be written in order.

You probably already know,:
  • Flat key signatures will always be written in this order: Bb Eb Ab Db Gb Cb and Fb and the major key is named for the second last flat, so, for instance, 4 flats will be Bb Eb Ab and Db, and the key will be Ab major or its corresponding minor).
  • Sharp key signatures are the reverse sequence:  F# ,C# ,G# ,D#, A# ,E# and B#.  Sharp key signatures take their names from the note that is one above the last sharp - four sharps will be E major.

In your example, the key signature will tell you which lines and spaces are B, E, A and D.
52
General Discussion / Re: Tenor & Bass Lysric
I don't work with lyrics, but:

You can create your four lines of lyrics in one staff using Lyric 1, Lyric 2, Lyric 3 and Lyric 4 tabs in the Lyrics menu.  This may cause problems if the words begin with note changes that differ in that part (i.e. trebles' words may not begin at the same beat as the bass lyrics.).

In that case create a separate lyric for each staff and place them below the treble staffs (Lyric 1, Lyric 2) or above the bass staffs ( Lyric 3,  Lyric 4).   I think you simply position them above or below the relevent staff using the Configuration tab in the Lyrics menu and maybe use the Offset settings to adjust their height.

53
General Discussion / Re: can not layer
If you have chosen "allow layering" in Page Setup, when you look at Print Preview the staves will be layered IF the upper one has been set to "layer with next staff"  in Staff Properties (F2). 

You won't see this in the Edit window unless you've also selected "allow layering in edit mode" from either the View menu or the icon in the menu bar.
54
Avant-garde / Re: Rehearsal marks
Once more I must thank Mike.  Using NWC only once in a while, I haven't kept up with the new objects, and Mike's BarLabel.ms is a big improvement over the method I have been using.

I use Lawrie's fonts for some types of music, but I liked Boxmarks2 for many of the charts just because of the styles.  It's moot now, though, with BarLabel.ms

Thanks, everyone.

55
Avant-garde / Rehearsal marks
Experienced users, ignore this.  You have your own methods.

New users, when you're writing a chart you may want to use rehearsal numbers or letters.  Generally I create these as text entries, in UserFont1, set to Boxmarks2, Bold, Size 16 (use the Page Setup/Fonts submenu for this). 

I place them at the beginning of their respective bars, right-justified to appear above the preceding bar line.  When the staff wraps  when printing, the rehearsal mark will be at the beginning of the new staff instead of orphaned at the end of the previous staff  I also set them to Visibility=Top Staff Only so they don't clutter up a multiple part score, but I usually enter them on all the parts so they're there when I go to print separate instrument parts. 

You can get away with entering each rehearal mark once only if you put them in a staff full of rests at the top of your score, but there are pros and cons to that.

Alphabetic rehearsal letters are simply a matter of adding a capital letter.  With Boxmark2, it will show inside a rectangular box.  Numeric rehearsal marks are a little more complicated. You need to use the Character Map and select one element at a time.  Start with the [ bracket. Then select the numeral(s) you want using the Character Map.  Choose the numbers that have horizontal lines above and below it. Finally end with the ] bracket. Your number will be entered as a boxed number, and can be 1, 2, 3 or even more characters long.

It's tedious to enter a lot of numeric rehearsal marks because you need the Character Map, so I usually create a supersized one at the very beginning of the staff, with this text string:
123456789012345678901234567890 .  When I need to add a rehearsal number, I just copy that to the appropriate bar and edit the copy to remove the numbers I don't want.  It saves a lot of time and work if your piece is 300 or more bars long.

56
General Discussion / Re: several pictures
Quote
The "12" in a box reminds me of a rehearsal mark.
Although it's oddly placed on the page the 12 may simply be the publisher's way of numbering the songs in a book.  I've seen it in introductory piano books, but usually close to the title.
57
General Discussion / CueHeads.ms
Mike, just a quick thank you for CueHeads.ms.  I haven't used it until today, and it works like a charm.

58
General Discussion / Re: What is this?
I wonder if they elongated rectangular noteheads are meant to be harmonic noteheads, such as NWC provides in the Noteheads submenu of the Notes menu?

Please don't ask me what a harmonic notehead is meant for, I have no clue.
60
General Discussion / Re: how to make it longer like in the picture
Frank, you may have noticed some "hairpins" are too high or too low and run through some notes and you may notice if you have one ending on the same note that has a dynamic marking, the hairpin collides with the dynamic.

The height (vertical position) of each hairpin depends on the vertical position of the last dynamic before it on the same staff.  Even though it might be way way earlier (50 bars or more), moving that dynamic up or down will move your hairpin up or down.  If you don't want to adjust that dynamic,  you can add one closer to, but before, the hairpin, and set it to Visibility=Never.  Even though it won't print, you can still move it up or down to control the hairpin.

To avoid either end of the hairpin running into the dynamic symbol, you can adjust the dynamic placement - select it, press Ctrl-E or Alt-E to get the notation properties menu, then fiddle with Placement and maybe Justification Right.
61
General Discussion / Re: quarter note's rest out side of the staff
Quote
Ha...ha...ha...you guys are still lucky your languages are mostly used in this world... To balance between my brain and physic/muscle my main job is housekeeping.
It is good that now a days we have kind of community where we can ask question and learn and we can learn from youtube anything.
Here below is my web, that I just built by selfstudy.,

Hey Frank, one excellent feature of Noteworthy is this wonderful forum.  I tend not to visit unless I'm using NWC, but right now I'm going through the messages I haven't seen before.

I'm lucky my native language is English, but I had French (instead of Latin) forced on me in school, and I began to learn Swedish when I was middle-aged.  Unfortunately, Swedish bumped my French out of my brain, and when I try to speak in French I end up using Swedish words and grammar.

I appreciate the UK/Australian words for the note values, even though I don't always remember what each one means.

If you don't play an instrument, you might consider learning one and joining a community band.  Great for the brain, great for socializing.  A couple of hours every week where you just forget the world.

Like you, I learned to create my own webpages from scratch, too. Here's one example:
http://tdwaw.ellingtonweb.ca/TDWAW1.html





63
General Discussion / Re: not loud enough
Back to Frank's original question
Quote
When I screen recording my keyed song in Noteworthy. How can we make it load enough, so that when my choir member play my youtube it is loud enough.
It might help to reset the volume (called Dynamic Velocities) for each dynamic setting.

I think this can only be done one staff at a time. :'(   It would be nicer to be able to do the entire score at one time, but I don't know if that's possible. 

Anyway, select your staff, then select the Instrument tab in the Staff Properties (F2) menu and increase the default velocities for each dynamic.
64
General Discussion / Re: Key signature
Quote
Quote from: David Palmquist  -  12 hours ago
Is it possible those are not sharp signs, bur instead are double sharps?
Quote
No, these are standard sharp signs. They look like "ours", i.e. like "hash marks" #, just angled at about 45
My bad.  My vision ain't what it used to be, and I thought I was looking at more than two lines in each direction in each sharp sign. Thanks for the followup and the additional examples.
65
General Discussion / Re: changing the key
Quote
Perhaps this deliberate approach to make consistent fingerings is how their keys were originally defined, and have remained so to this day.  At least, that's my best guess for now.
My best guess too.

Quote
I'm also thinking to the baroque recorder.

I don't have a baroque recorder but do have an alto recorder that I never play.   Wikipedia says
Quote
The F alto is a non-transposing instrument . . . So-called F fingerings are therefore used ...  in contrast to the C fingerings used for most other woodwinds...
When the instrument was given to me, maybe 40 years ago?, it came with fingering charts for both F and C fingerings, so the player had some flexibiility. . 

66
General Discussion / Re: changing the key
Quote
... normally a trumpet is a Bb instrument.  There are exceptions which will help make things clearer later.
The reason it is called a Bb instrument is that its fundamental note, with no valves operated, is a concert Bb.  From the players perspective we call this fundamental note C, even though it is still a concert Bb...
Trumpets come in several pitches.  You will see Bb, A, C, D and Eb most commonly though by far the most prevalent is the Bb.  If a trumpet is mentioned without a key then it will be a Bb trumpet. In ALL cases the lowest note with no valves operated is called middle C. 

The theory is a little different for transposing reed instruments - clarinets, saxes, and english horns, and some flutes (oboe, most flutes and bassoons don't transpose).

Saxes and clarinets are not normally explained in terms of their fundamental note.  The lowest note on most Bb soprano clarinets is a written E, which is D on the piano.  If you don't close any of the tone holes, you get a written G, or concert F.  The lowest note on saxophones is usually written Bb which will be Ab on the piano for the Bb saxes and Db on the piano for the Eb saxes.  Some members of the clarinet family play lower - vintage alto and bass clarinets traditionally go down to written Eb and modern bass clarinets down to written C below that.  The low note on many modern baritone saxes is a written A.

The "name" of the instrument - "Bb" tenor sax, "Eb" alto sax is the concert pitch note heard when a written C is played.   On your soprano or tenor, when you play C that same note on a piano is Bb.  On alto or bari, C gives you Eb.  

Three members of the clarinet family are pitched in Eb and some saxes are pitched in C (I have a C soprano and a C melody).  Clarinets used for symphonic work are often pitched in A and I think I've seen ads for clarinets in C as well.  Recently somebody on Facebook posted a short video of him playing a bass clarinet pitched in G which he made with a 3-D printer.

Sorry I wrote so much.  All I am trying to say is that transposing woodwind instruments are not named for their fundamental notes (if they even have them).
68
General Discussion / Re: How would you play this?
Question resolved.  The arranger kindly replied to my query with

Quote
Thanks for asking!  I remember how rushed the publisher was to get this to press--I had about 24 hours to proof, and I was still working full-time then! I am not surprised that some things are ambiguous.

Mm. 45-48 should all be written Db for bass clarinet. I think you and your friends have guessed correctly--there is an unnecessary accidental in m. 45, but the intent is for all four measures to be Db for bass clarinet.

Thanks so much for asking! 

I'm not sure if I'm happy or not.  I was thinking I was learning something about open key signatures.   But all is good!  Thanks everyone.
70
General Discussion / Re: Convert file in NWC to Midi format
Quote
How??
Alt-File-Export pops out a Save As menu that offers you choices between Type 1 Midi File, Type 0 Midi File and Noteworthy Composer 1.75 File - see image attached.   I don't use midi so I can't discuss the merits of either midi type.
71
General Discussion / Re: Convert file in NWC to Midi format
hmmueller
Quote
File -> Export will store it as MIDI file of type 0.
Flurmy
Quote
Why type 0?
NWC2 will export to Midi type 1. 

deltaeupher
You could always open Audacity or a similar programme (I still use Creative WaveStudio online) and set it to record, then play the NWC file.  The sound should be recorded to your hard drive and you can then save it in a format that can be played back in a sound app.

If you want to use the file in another notation programme, you can convert it to MusicXML using https://www.niversoft.com/products/xml2nwc/#conversion
72
General Discussion / Re: windows 11
Good to know, Flurmy

An alternative then would be for leforain  to send his or her existing NWC files to one of us to open and save to nwc text format and send them back.  

leforain, is this something you'd consider?  How many files are there, I wonder?

73
General Discussion / Re: How would you play this?
Hi H.M.
It may indeed just be copy/paste error but I'm not certain.   The score has a page breaks after the second bar.  The two whole notes before the page break (bars 44 and 45) have the flat accidental written, but the two whole notes after the page break (bars 46 and 47) don't.

There are some moving parts, but if I'm transposing correctly the harmonic structure of bar 46 is different from bar 45, either if my note is natural or it's flat.

I've written to the arranger now.  If he replies, I'll let us all know what he says he meant there.



74
General Discussion / Re: windows 11
https://www.niversoft.com/products/xml2nwc/#conversion

will convert .nwctext files to musicxml, which Finale may be able to import.

Try saving copies of your nwc files and them rename the filename extension from nwc to nwctxt.  I don't know if that will trick niversoft into accepting them as nwctxt but you won't know until you try.  Load those into niversoft and maybe you will have some luck with your old files.
75
General Discussion / Re: How would you play this?
Hi Mike,

I agree it could be a courtesy accidental of sorts, but then, why not one on the fourth bar which comes after a system break?

This piqued my curiousity is because it's probably the first time in nearly 60 years of playing that I've ever dealt with an "open" key signature in a fairly sophisticated composition - or maybe if I've encountered them, they were written so as to be very clear.  Here, it isn't, and the notation of these four bars is so ambiguous.

Courtesy accidentals are usually, but not always, bracketed and sometimes they occur several bars after an altered note.  I think it's fair to say there's no rule and usage is not consistent.  No problem, they're usually helpful.

Here, my own feeling is that is it not a courtesy accidental because there's no key signature, and I suspect every note that is not natural would be marked by a flat or sharp sign.  It's sloppy notation - written music should clearly convey the composer's wishes to the performer, and this doesn't do that. 

"Only the conductor knows for sure" what's in the other parts. I have the oboe and english horn parts because our oboist doubles and needed her parts combined into one so she didn't have to switch charts when moving from one horn to the other.  Otherwise I would never see them.  

As Lawrie suggests, the bass clar is probably playing the root of the chord, but that may not be the case.  Again, "only the conductor..." knows. 

If time permits tonight I'll take a boo at the full score to see if that casts light on things, then get back to everyone.

Cheers!



78
General Discussion / Re: Back up question amid heartbreak
Sorry to be late to the party. 
Quote
Now, as to the work flow issue, I have tried just using one file,
I almost always print to PDF.  I do an awful lot of transposing and sometimes the members want things changed; for instance transposing a bari sax part for bass sax can end up with altissimo notes.  The saxist may ask for them to be taken down an octave.  Or may want the page break to be moved to make page turns easier. Or wants a larger font size.  

Whatever the change, I can do it all in a new staff in the original NWC file.  Copy the original, no longer wanted, staff to the new file and make the changes there, then print the new staff to a PDF with a modified file name. It's probably a good idea to add a few comments in the Information window so I'll remember what I did and why the next time I work with the file.

When I try to rearrange or reorchestrate something, I may change my mind as I go along.  It's probably wisest to save the file with slightly different file names as the work progresses.   MyfavouritesongDraft1.nwc, then MyfavouritesongDraft2.nwc,, MyfavouritesongDraft3.nwc,   MyfavouritesongFinal.nwc,

Quote
but I find that when I create parts, I often want to make them a little bigger than what I am happy to work with as the conductor and/or accompanist. I like less pages to turn. This means that there is a lot of fiddling back and forth if I just work from the full score and hide staves. Also, making the endings align well isn't always the same for each part.How do you handle those items (font size changes and spacer inserts for endings)?

I add a section close bar at the end of each system, set to force a system break.  This makes each part end at the right margin.  Beyond that, I don't worry about the same alignment for each part.  If the part is more than a single page, I use Force a New System/Start a New Page as necessary within each staff for optimum page turns.   The

The Section Close and the Start a New Page commands will often distort the appearance of some systems on the page.  I use Forced System Break bar lines to adjust the length of serveral systems, working from the end of the chart toward the top.

There's a certain amount of trial and error, but there's no reason each part should occupy the same amount of paper or have system breaks at the same bar number.  Some instruments play a lot of black notes; others have mostly half or whole notes and don't need as much paper.

I sometimes change the staff metrics to accommodate those with vision issues.  Since I'm usually working from a score, I don't need to reprint it.  If I needed to, I think I'd simply save the same file under two names:  MyBestEffort-Parts.nwc and MyBestEffort-Score.nwc.  That way I could change the staff metrics in the parts file without affecting the staff metrics for the score.


79
General Discussion / Re: How would you play this?
I take it on faith that the parts are transposed. The band includes C, Bb, Eb and F instruments and the piece is too tough to expect us to sight-transpose.

You're right that the English horn sustained note is a concert D#.  I apologize for failing to copy the first note of the EH part; it's just a whole rest.  So the oboe note is taken over by the EH an octave lower.

I agree that the first two measures are consistent with a concert B major chord (or G# minor)..

I'm still stuck on the third and fourth measures, though. If the arranger meant the bass clarinet note to rise the half tone, he/she should have made it clear.

Both the composer and the arranger are alive, so maybe I should contact one or the other to see what the intention is.

Fun and games, eh?




80
General Discussion / Re: How would you play this?
Hi Lawrie

The parts are transposed.  Here are the same four bars for the three instruments.  I don't think they help..

I haven't seen the score.  It might be in either concert pitch or transposed.  

When notes at the same vertical position I'm not sure how the musician is supposed to differentiate between slurs (which are necessary only when the pitch changes) and ties. but that's a different topic, I suppose.

Anyway, here's the image to look at.
82
General Discussion / How would you play this?
!NoteWorthyComposerClip(2.751,Single)
|Clef|Type:Treble
|Note|Dur:Whole,Slur|Pos:b-5
|Bar
|Note|Dur:Whole,Slur|Pos:b-5
|Bar
|Note|Dur:Whole,Slur|Pos:-5
|Bar
|Note|Dur:Whole|Pos:-5
!NoteWorthyComposerClip-End

This extract is from the bass clarinet part of a long composition written with no key signature.  I'm not familiar with music written without a key signature; I gather it may be called an "open key" or somesuch.  I've confirmed the oboe and english horn parts also have no key signatures. 

Since the notes are tied, NWC will interpret all four of these notes as D-flat.  I'm curious if you, a iving musician, would play the third and fourth bars.  

The accidental in the second bar may or may not be intentional.  If I know the arranger simply made a mistake in writing that flat,  I would play all four bars flat.  If the second bar is intentionally flatted, though, I must wonder why the arranger flattened that note and not the succeeding ones.  Maybe he meant the third and fourth bars to be D natural. 

Thoughts?
83
General Discussion / Re: staff of "falsetti"
Have you tried the Notation Properties / Boundaries / Collapsing/hiding a printed staff tool? 
I don't know which menu it's on but a popdown menu opens if you press ] (the right square bracket key) .  You essentially create a whole new system for your falsetti notes, filling it with rests except for those notes.  Enter "Start a collapsible section" at the beginning of the system, "cancel/forbid" the collapse when you reach those notes, then collapse the sytem again after those notes.

If your falsetti notes occupy just part of a system as in your illustration, you'll end up with a full width system between the collapse and cancel tools.  You might be able to blank the part you don't want to see with gaps and forcing a new sytem, but I haven't tried.

Help for Boundary Change says

Collapsing/hiding a printed staff
Instructions in this section dynamically control when a staff will be included on the printed page. Using these instructions, it is possible to collapse a staff during some portions of the performance so that it will not be printed. The two available instructions are:

Start a collapsible section
This instruction marks the beginning of a section of notation that can be excluded (or collapsed) from the system when it is printed. A staff can be collapsed from the very first system on the first page by adding this instruction at the beginning, before any clef, key or time signature is added. The staff will remain collapsed from the printout until a cancel instruction. There is no need to cancel a collapsed section instruction if the part should remain collapsed through the conclusion of the work.


Cancel/forbid collapse from this bar
This instruction cancels a prior collapse instruction and forces the current bar to be included in the printout.

Stand alone print instructions
The following instructions are available:

Gap the staff
This instruction is used to create a gap in the current staff. It is most commonly used to start a Coda note section. The gap width uses the same units as the staff Spacer item. The System connections option can be used in the top staff of the system to re-display any staff bracket or brace that appears in the system. The system brace will only be shown if additional notes appear in the printed system after the gap. If the gap ends the staff, then this will simply add blank space to the end of the staff/system. It is recommended that a transparent bar line be added immediately after the staff gap in the event that a system break occurs immediately after the gap.
Force a new system
When added to the top staff in the system, this instruction can be used to force a new system to be started in the printout. If necessary, it can also be used to force the new system to start at the top of a new page.


84
General Discussion / Re: PageTextMaestro and PageText.
Hi Lawrie,

Thank you for this. The next time I try to use the pagetxt tools, I'll come back to your message for guidance. 

I think the key is knowing to choose Custom1 or Custom2 only for what is not already in the File Information box (Title, Author, Lyricist, Copyright notice 1, Copyright notice 2, and Comments.   Somewhere in the user forum there's a mention of how to set things up in the Comments box, but there are far too many forum entries about this wonderful tool to try to find that one today.

Here, I was rewriting a 7 page 500-plus bar part for a  3 movement suite that was printed too faintly (and blurry) to read on a music stand, particularly in bars full of leger-line notes that ran together, making if difficult to see where the staff left off and the leger lines began.  I created BMP images from the PDFs, processed them with SharpEye, converted them with Niversoft's MusicXML - Noteworthy tool, edited them.  Having finished and proof-read the music, now it was time to print the pages.

I probably spent 5 or 10 hours trying to figure out how the pagetxt tools would do what I needed.  Since I was facing a deadline, I gave up and finished my project the old-fashioned way, creating a separate file for each movement and printing my desired headers for the second and subsequent pages as ordinary text entries centred above the middle bar of the top system of each page. 

I eventually got what I needed on my title pages,  but it took a lot of trial and error, and I doubt if I could succeed again without repeating the trial and error learning experience.  Looking back, it was probably Custom2 that made my last problem in the title pages go away, but who knows? 
 
Secondary pages, no go.  No matter what I did I could not get headings to work.

What I was trying to create was:
First page of each movement: (single spaced)
                                                                    
Suite from
THE NAME OF MY FAVOURITE BROADWAY MUSICAL
                                      
   1. DRUNKEN WALTZ
Contrabass kazoo in F
  
Author and arranger info    
(If necessary these two lines could be one. )

The problem I had was that I could make everything the first two lines on the first page look right, but when I added a third line, only one of the three would display.  I think I eventually made it work using Custom1 and Custom 2, as well as Title and Eventually this seemed to work.  

!NoteWorthyComposerClip(2.751,Single)
|User|PageTxtMaestro.nw|Pos:1
|User|PageTxt.nw|Pos:30|PgStyle:Custom1|Text:"Suite from%br%THE NAME OF MY FAVOURITE BROADWAY MUSICAL%br%(Composer name)"|Fnt:PageTitleText|YLoc:Top|XLoc:Center|PgCtrl:"Odd Pages"|FntSz:0.5|CY:-12|Color:6
|User|PageTxtMaestro.nw|Pos:2.5
|User|PageTxt.nw|Pos:-1|PgStyle:Title|Text:%Title%|Fnt:PageTitleText|YLoc:Top|XLoc:Center|CY:8|PgCtrl:"Odd Pages"
|User|PageTxtMaestro.nw|Pos:1
|User|PageTxt.nw|Pos:0|PgStyle:Custom2|Text:"Contrabass kazoo in F"|Fnt:PageTitleText|YLoc:Top|XLoc:Left|PgCtrl:All|FntSz:0.5|CX:1|CY:15|Color:6
!NoteWorthyComposerClip-End

On the second and third pages of each movement I wanted :
My Favourite Broadway Musical- 1. 1. DRUNKEN WALTZ [/size] Contrabass kazoo in F - page N
but I simply decided I couldn't afford more time for experimentation.

Hopefully I've explained what I did and what went wrong.  It's hard to do this accurately a couple of days afterwards.

When first inserting a Pagetxt item, you're given several choices, but I coudn't find any explanation of that they mean:
  • Page style New
  • Page style Once
  • Page style Author
  • Page style Copyright
    Page style Custom1
  • Page style Custom2
  • Page style Title

There's probably a couple more, the UserPrompt doesn't facilitate copying the menu.  What does each of these mean and when should each be used?  A narrative help file could be useful.

Don't worry about replying.  If I find the time, I'll try to draft up some sort of short narrative as a message in the forum.

85
General Discussion / PageTextMaestro and PageText.
Is there a user-friendly explanation of how to use PageTextMaestro.nw and PageText.nw?

I thought I had them figured out a few months ago, but now I'm befuddled.  The highly technical discussion that started 7 years ago and continued 4 years ago is way over my head and the sample file isn't helpful   

I've finished my project printing page headings the old way, so there's no urgency, but thought it might be worth asking because most users are probably as technically challenged as me.
86
General Discussion / Re: Fixing Flow
Quote
I have created a version where verse 1 stands alone and the repeats and endings apply to verse 2 and 3. I think this will be more clear for the singers

Agreed.  Goodnight.



87
General Discussion / Re: Minimum intervals with dotted notes
Congratulations on your solution.

I'm not sure you solved the problem in bar 18.
 !NoteWorthyComposerClip(2.751,Single)
|Chord|Dur:8th,Dotted|Pos:0!1|Opts:Stem=Up,XDotSpace=0.4|Dur2:8th,Dotted|Pos2:-1
!NoteWorthyComposerClip-End
with the corresponding note in the lower staff
!NoteWorthyComposerClip(2.751,Single)
|Note|Dur:8th,Dotted|Pos:-1!1|Opts:Stem=Down,XNoteSpace=1|Visibility:Never
!NoteWorthyComposerClip-End
seems to give you the same appearance as your solution, and the upper dot seems too high.

It wouldn't trouble me when reading the chart, but I think that was what you were trying to solve.


 
88
General Discussion / Re: Fixing Flow
Hi SEBC

I think Lawrie's solution is what you need, but Bart's comment about confusing your musicians/choristers  is important. 

A chorus is, I think, part of a song that is repeated between verses.  If you change it, it's not a repeating passage, so you shouldn't label it as a chorus unless you want your musicians/choristers to waste valuable rehearsal time arguing about what they're supposed to play/sing.
89
General Discussion / Re: Minimum intervals with dotted notes
Hi Lawrroc

If I understand your images correctly, you're concerned about the vertical positions of the augmentation dots - they don't line up consistently with their respective  noteheads. I don't think there's anything in the programme that will change it, but you can do a workaround with text and hidden notes.

!NoteWorthyComposerClip(2.751,Single)
|TimeSig|Signature:2/4
|Chord|Dur:16th|Pos:0^,1^|Visibility:Never
|Text|Text:"   "|Font:StaffSymbols|Scale:70|Pos:-0.5|Placement:AtNextNote
|Text|Text:"   "|Font:StaffSymbols|Scale:70|Pos:1|Placement:AtNextNote
|Chord|Dur:8th|Pos:0,1|Opts:Stem=Down,Beam=First
|Spacer|Width:250
|Chord|Dur:16th|Pos:0,1|Opts:Stem=Down,Beam=End
|Chord|Dur:16th|Pos:1^,2^|Visibility:Never
|Text|Text:"   "|Font:StaffSymbols|Scale:70|Pos:1|Placement:AtNextNote
|Text|Text:"   "|Font:StaffSymbols|Scale:70|Pos:2.5|Placement:AtNextNote
|Chord|Dur:8th|Pos:1,2|Opts:Stem=Down,Beam=First
|Spacer|Width:250
|Chord|Dur:16th|Pos:0,1|Opts:Stem=Down,Beam=End
|Bar
!NoteWorthyComposerClip-End

To summarize, for the notes you want to appear dotted, don't dot them.  Instead, use text from the Character Map for Staff Symbols for your dots.  The playback will be wrong without the leading hidden notes, and because they're hidden, your visible notes will not be out of place horizontally..

Somebody else may have a better solution, but this workaround should be adequate with a little tweaking.

(One of NWC's best feature is the ability to create a workaround.)
91
General Discussion / Re: windows 11
I haven't done much NWC notation since the before-times, so I've been out of touch for a year or two.  It's fun to relearn things I've forgotten.  A big Hello to everyone, I hope you're all well.

From time to time I'm sure almost all of us are going to have problems reinstalling NWC  due to crashes, changing or upgrading hardware and some users are complaining about the lack of support.

Harsh as it sounds, if you really need the programme and can't get it to reinstall, it's still only US$49 and still seems to be available at https://noteworthycomposer.com/order/buy/?formid=nwc2 

I know it will seem wrong, but perhaps buying a new copy may be better for your emotional health, if nothing else, to eat the extra few dollars, in order to be up and running quickly, rather than pounding your keyboard into dust in frustration.

93
General Discussion / Re: Creating a .bat file to convert all files of a folder to NWCTXT.
This is probably a stupid question and likely not helpful, but I'll ask it and offer a possible solution anyway.

Other than the filename extension, is there any difference between  .nwc and .nwctext files?

If not, there is freeware for bulk renaming.  I use CKRenamer, and I imagine other, newer, programs are readily available.

End of stupid question.  I'll duck now. 
94
Announcements / Re: Forum/Server Upgraded (August 2020)
One other glitch which could be problematic.  Show most recent posts at the top functionality works but replies are numbered dynamically from the most recent to the original posting. 

An example is this page, where your original message is at the moment labelled "Reply #10 - 2 days ago."  The first reply was from Francis, his reply is labelled "Reply #9 - 2 days ago."  Opagust's is "Reply #4 - 2 days ago."
Today's messages in any particular target will be Reply #1, Reply #2, etc. with Reply #1 apparently being the newest. 

This means when someone else replies, the newest reply will be #1, the next oldest becomes #2, the next one will be bumped from #2 to #3, etc.   If you can change the numbering so the original message isn't labelled as a reply and each reply is numbered in the order it's received by the server, it will be easier to refer to a particular message. 

(Your Reply #3 – A day ago changed to Reply #4 – A day ago after my previous reply was accepted.)

 
95
Announcements / Re: Forum/Server Upgraded (August 2020)
Hey, Eric, long time no see.  Welcome back!

You asked for glitch reporting -
My browser is Opera.  I believe it is similar to Chrome.
The new screen for New Posts is full width (  :D ), but only half the height (  :-\  ) of the window.  There's a stylized scroll bar to the left - nice to have but maybe not essential. 

The bottom half of the window is grey, with the words

Powered by ElkArte 1.1.6 | CreditsRSS
Page created in 0.012 seconds with 16 queries.

and over to the right, a coloured icon which, when clicked, opens the source page (html code for the page).

Powered by ElkArte 1.1.6 and CreditsRSS are hyperlinks.  I don't mind ElkArte's plug, but it would be more useful / userfriendly if the grey space took up much less of the screen area.

97
General Discussion / Re: Text under music
Another method is a bit more work, but write your music without lyrics, and give the staff a large Lower Boundary. 
"Print" the music to a PDF file, then use your PDF programme's text entry feature to write the lyrics.  That way you can write one set of words in one font or style and the other set of words with another. 

Une autre méthode est un peu plus de travail, mais écrivez votre musique sans paroles et donnez au personnel une grande limite inférieure.
"Imprimez" la musique dans un fichier PDF, puis utilisez la fonction de saisie de texte de votre programme PDF pour écrire les paroles. De cette façon, vous pouvez écrire un ensemble de mots dans une police ou un style et l'autre ensemble de mots avec un autre.

(J'espère que mon français est adéquat; je compte sur Google pour traduire de l'anglais.)

98
General Discussion / Re: Text under music
...you will need to experiment to get each word/syllable to line up....
...vous devrez expérimenter pour aligner chaque mot / syllabe.
Hint:
Each word of text can be aligned with the next note.  When you write each word, use the Placement tab and Alignment/Placement to At Next Note/Bar.  Justification in the same tab will allow you to have the word start or end or be centered over the note.

Allusion:
Chaque mot de texte peut être aligné sur la note suivante. Lorsque vous écrivez chaque mot, utilisez l'onglet Placement et Alignment / Placement = At Next Note / Bar. Justification dans le même onglet vous permettra d'avoir le mot de début ou de fin ou d'être centré sur la note.
99
General Discussion / Re: Arpeggio settings in NWC2.75a
... I wouldn't want to update the existing version and break things for every NWC user out there. I can upload a "test" version, but it might work best for the user to do some temporary renaming so that the object has the "right" name (otherwise it won't inherit parameters correctly).

Flurmy's answer probably makes my suggestion here redundant, but if not, why not create the revised user tool as an edited copy of the existing one, with a slightly different name?  Users could choose which one they want to use.

100
Tips & Tricks / Re: How to hide rests to prevent collisions with notes in layered staffs
I'm using NWC ver. 2.75a.2 and have not succeeded in preventing rests from colliding with notes of other staffs when layering. I would prefer to avoid using vertical offset in staff properties. All that does is exile the rests to limbo somewhere above the staff, and this looks just as bad in the hard copy printout. Previous versions of NWC apparently had a Hide Rest feature but either my version doesn't or I can't find it. Ideas....?
I take your point, Mike. (Also, not being a guitarist, I didn't pick up on the strumming, my bad).
Jakeness, I notice you want to prevent rests overlapping notes when layering.  Why not just adjust the vertical position of those rests that do collide?  Instead of hiding them, when you're layering to present two parts on one printed staff (as for a duet), quarter-rests and smaller can simply be moved above or below the staff as necessary, so the user will see them as s/he sings or plays his/her part.
 Half and whole rests can sit on/hang from other lines of the staff or even leger lines.