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Messages - Lawrie Pardy

151
User Tools / Re: NWCCONVERTOR
Quote from: Opagust –
Version 1.0.6.7 is available at
https://www.opagust.be/content/nwcconvertor
<snip>
Hey Gust,
I downloaded this a couple of days ago and it seemed to work fine except the recipient of the MusicXML file had playback problems because of transposing instrument parts being played as if written in concert pitch...

I resaved the nwctxt without transposed parts and went to convert again and my AV software is complaining that it's infected with something called "FileRepMalware[Trj]". 
So I downloaded a new copy and got the same error.
I'm guessing I had an AV (Avast) update between the first and second uses AND that it's probably a false positive but are you able to check it out?
152
General Discussion / Re: Two bar repeat sign
Hi David,
are you talking about Mike's RepeatMark.ms or hmmueller's RepeatMark.test ?

I certainly have nothing called "SingleDoubleBarRepeat" in my list of installed objects and when I copied your clip into NWC and tried to search for a new object it came back empty.
153
General Discussion / Re: MIDI to score
Hey Flurmy,
I recall a VERY OLD php based user tool written by Gennaro Granito that IIRC appeared in the old newsgroup during the NWC2 beta program. 
It's called Consolidate and needs a php install to work.

OK, just checked, the User Tool Starter Kit apparently still includes the php interpreter, so I assume you have installed the starter kit ;)  and should be fine to try the user tool.  Only trouble is I can't find the tool here on the forum...

I'm also not sure if it would be much help.
154
General Discussion / Re: Extra spacing for longer notes
Hi Sam,
to confirm, you go to |File|Page Setup...|Options (tab)| and remove the check mark from "Increase spacing for longer notes"?

I figure you have this correct but it doesn't hurt to make sure.

AFAIK this is the ONLY place that needs to be changed, however, if you have forced system breaks anywhere they might be masking the change.  So I would also check that the final barline on any staff does not have a "Force system break" check, ditto Boundary objects that start a new system.

Also, don't forget that this change is current song file specific.  It will NOT affect any other song, nor will it affect any new song unless you modify your template(s).  It will also not affect any new song that does not use a template.
155
General Discussion / Re: Note of a chord
You can right click on a single chord member to change some, but not all of what you ask.

Unfortunately, extra accidental space is not one of the things you can change.  Extra accidental space, like extra note space, will affect the whole chord.  The only way I can think of to add extra space to a single chord member is to use layering.
160
General Discussion / Re: Thinking Through Flow
Quote from: Flurmy –
A hidden ppp? Well, it's very soft but still audible.
Why not a multipoint controller with expression = 0 (and later, when you want to hear it, 127)?
The hidden ppp is much easier, AND it is near enough inaudible as to make no practical difference.  At least that's how it's been in my scores.  The other, non ppp, instruments significantly over power it.
161
General Discussion / Re: Thinking Through Flow
Quote from: SEBC –
Thanks, Lawrie! I’ll give this a thorough read tomorrow when MY brain is fresh!
:))

Quote from: SEBC –
I suspect that the instructions would likely change for a printed score to be performed by live musicians? That’s the case for me but I also like to make listening tracks, too.
No, that's why you hide some of the S.Es and the dynamics required for the tacet parts...

Here's an excerpt from something I did a few years ago.  This is the Horn part, but not in a publishable state.
Code: (nwc) [Select · Download]
!NoteWorthyComposerClip(2.751,Single)
|Clef|Type:Treble
|Key|Signature:Bb|Tonic:F
|TimeSig|Signature:Common
|Bar|Style:MasterRepeatOpen
|Rest|Dur:Whole
|Bar|Style:MasterRepeatClose
|RestMultiBar|NumBars:6|PrintOnce:N|WhenHidden:ShowBars,ShowRests
|Bar
|TempoVariance|Style:Accelerando|Pos:-7.5
|RestMultiBar|NumBars:2|PrintOnce:N|WhenHidden:ShowBars,ShowRests
|Bar
|Rest|Dur:Half,Dotted|Opts:XDotSpace=0.5
|Dynamic|Style:mp|Pos:-15
|Text|Text:"Soli"|Font:PageSmallText|Pos:8
|Note|Dur:4th|Pos:-6
|Bar
|Note|Dur:4th|Pos:-3|Opts:Crescendo
|Note|Dur:8th|Pos:-4|Opts:Stem=Up,Crescendo,Beam=First
|Note|Dur:8th|Pos:-3|Opts:Stem=Up,Crescendo,Beam=End
|Note|Dur:4th|Pos:-2|Opts:Crescendo
|Note|Dur:8th|Pos:-3|Opts:Stem=Up,Crescendo,Beam=First
|Note|Dur:8th|Pos:-2|Opts:Stem=Up,Crescendo,Beam=End
|Bar
|Note|Dur:4th|Pos:-1|Opts:Crescendo
|Note|Dur:8th|Pos:0|Opts:Stem=Up,Crescendo,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Crescendo,Beam=End
|Note|Dur:4th|Pos:-5|Opts:Crescendo
|Note|Dur:4th|Pos:-2|Opts:Crescendo
|Bar
|Note|Dur:8th|Pos:-3|Opts:Stem=Up,Crescendo,Beam=First
|Note|Dur:16th|Pos:-8|Opts:Stem=Up,Crescendo,Beam
|Note|Dur:16th|Pos:-6|Opts:Stem=Up,Crescendo,Beam=End
|Note|Dur:8th|Pos:-3|Opts:Stem=Up,Crescendo,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Crescendo,Beam=End
|Note|Dur:8th|Pos:-4|Opts:Stem=Up,Crescendo,Beam=First
|Note|Dur:16th|Pos:-9|Opts:Stem=Up,Crescendo,Beam
|Note|Dur:16th|Pos:-6|Opts:Stem=Up,Crescendo,Beam=End
|Note|Dur:8th|Pos:-4|Opts:Stem=Up,Crescendo,Beam=First
|Note|Dur:8th|Pos:-2|Opts:Stem=Up,Crescendo,Beam=End
|Bar
|Note|Dur:8th|Pos:-3|Opts:Stem=Up,Crescendo,Beam=First
|Note|Dur:16th|Pos:-8|Opts:Stem=Up,Crescendo,Beam
|Note|Dur:16th|Pos:-6|Opts:Stem=Up,Crescendo,Beam=End
|Note|Dur:8th|Pos:-3|Opts:Stem=Up,Crescendo,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Crescendo,Beam=End
|Note|Dur:4th|Pos:-3|Opts:Crescendo
|Rest|Dur:4th
|Dynamic|Style:ppp|Pos:-7|Justify:Right|Visibility:Never
|Bar|Style:MasterRepeatOpen
|Ending|Endings:1,3|Visibility:Never
|Dynamic|Style:ppp|Pos:-11.5|Justify:Right|Visibility:Never
|Ending|Endings:2,4|Visibility:Never
|Dynamic|Style:mf|Pos:-8|Justify:Center
|Ending|Endings:1,2,3,4|Visibility:Never
|Text|Text:"Tacet vs 1&3"|Font:StaffItalic|Pos:7.5
|Note|Dur:16th|Pos:-6|Opts:Stem=Up,Beam=First
|Note|Dur:16th|Pos:-6|Opts:Stem=Up,Beam
|Note|Dur:8th,Staccato|Pos:-6|Opts:Stem=Up,Beam=End
|Note|Dur:16th|Pos:-6|Opts:Stem=Up,Beam=First
|Note|Dur:16th|Pos:-6|Opts:Stem=Up,Beam
|Note|Dur:8th,Staccato|Pos:-6|Opts:Stem=Up,Beam=End
|Note|Dur:8th,Staccato|Pos:-4|Opts:Stem=Up,Beam=First
|Note|Dur:8th,Staccato|Pos:-3|Opts:Stem=Up,Beam=End
|Note|Dur:8th,Staccato|Pos:-2
|Rest|Dur:8th
|Bar
|Note|Dur:16th|Pos:-3|Opts:Stem=Up,Beam=First
|Note|Dur:16th|Pos:-3|Opts:Stem=Up,Beam
|Note|Dur:8th,Staccato|Pos:-3|Opts:Stem=Up,Beam=End
|Note|Dur:16th|Pos:-3|Opts:Stem=Up,Beam=First
|Note|Dur:16th|Pos:-3|Opts:Stem=Up,Beam
|Note|Dur:16th|Pos:1|Opts:Stem=Up,Beam
|Note|Dur:16th|Pos:0|Opts:Stem=Up,Beam=End
|Note|Dur:8th,Staccato|Pos:-1|Opts:Stem=Up,Beam=First
|Note|Dur:8th,Staccato|Pos:-2|Opts:Stem=Up,Beam=End
|Note|Dur:8th,Staccato|Pos:-3
|Rest|Dur:8th
|Bar
|Note|Dur:16th|Pos:-6|Opts:Stem=Up,Beam=First
|Note|Dur:16th|Pos:-6|Opts:Stem=Up,Beam
|Note|Dur:8th,Staccato|Pos:-6|Opts:Stem=Up,Beam=End
|Note|Dur:16th|Pos:-6|Opts:Stem=Up,Beam=First
|Note|Dur:16th|Pos:-6|Opts:Stem=Up,Beam
|Note|Dur:8th,Staccato|Pos:-6|Opts:Stem=Up,Beam=End
|Note|Dur:4th|Pos:-4
|Note|Dur:8th,Staccato|Pos:-5|Opts:Stem=Up,Beam=First
|Note|Dur:8th,Staccato|Pos:-4|Opts:Stem=Up,Beam=End
|Bar
|Note|Dur:8th,Staccato|Pos:-3|Opts:Stem=Up,Beam=First
|Note|Dur:16th|Pos:-3|Opts:Stem=Up,Beam
|Note|Dur:16th|Pos:-3|Opts:Stem=Up,Beam=End
|Note|Dur:16th|Pos:-3|Opts:Stem=Up,Beam=First
|Note|Dur:16th|Pos:-3|Opts:Stem=Up,Beam
|Note|Dur:8th,Staccato|Pos:-3|Opts:Stem=Up,Beam=End
|Note|Dur:4th|Pos:-3
|Rest|Dur:4th
|Bar
|Note|Dur:16th|Pos:-6|Opts:Stem=Up,Beam=First
|Note|Dur:16th|Pos:-6|Opts:Stem=Up,Beam
|Note|Dur:8th,Staccato|Pos:-6|Opts:Stem=Up,Beam=End
|Note|Dur:16th|Pos:-6|Opts:Stem=Up,Beam=First
|Note|Dur:16th|Pos:-6|Opts:Stem=Up,Beam
|Note|Dur:8th,Staccato|Pos:-6|Opts:Stem=Up,Beam=End
|Note|Dur:8th,Staccato|Pos:-4|Opts:Stem=Up,Beam=First
|Note|Dur:8th,Staccato|Pos:-3|Opts:Stem=Up,Beam=End
|Note|Dur:8th,Staccato|Pos:-2
|Rest|Dur:8th
|Bar
|Note|Dur:16th|Pos:-3|Opts:Stem=Up,Beam=First
|Note|Dur:16th|Pos:-3|Opts:Stem=Up,Beam
|Note|Dur:8th,Staccato|Pos:-3|Opts:Stem=Up,Beam=End
|Note|Dur:16th|Pos:-3|Opts:Stem=Up,Beam=First
|Note|Dur:16th|Pos:-3|Opts:Stem=Up,Beam
|Note|Dur:16th|Pos:1|Opts:Stem=Up,Beam
|Note|Dur:16th|Pos:0|Opts:Stem=Up,Beam=End
|Note|Dur:8th,Staccato|Pos:-1|Opts:Stem=Up,Beam=First
|Note|Dur:8th,Staccato|Pos:-2|Opts:Stem=Up,Beam=End
|Note|Dur:8th,Staccato|Pos:-3
|Rest|Dur:8th
|Bar
|Note|Dur:16th|Pos:-6|Opts:Stem=Up,Beam=First
|Note|Dur:16th|Pos:-6|Opts:Stem=Up,Beam
|Note|Dur:8th,Staccato|Pos:-6|Opts:Stem=Up,Beam=End
|Note|Dur:16th|Pos:-6|Opts:Stem=Up,Beam=First
|Note|Dur:16th|Pos:-6|Opts:Stem=Up,Beam
|Note|Dur:8th,Staccato|Pos:-6|Opts:Stem=Up,Beam=End
|Note|Dur:4th|Pos:-4
|Note|Dur:8th,Staccato|Pos:-3|Opts:Stem=Up,Beam=First
|Note|Dur:8th,Staccato|Pos:-2|Opts:Stem=Up,Beam=End
|Bar
|Note|Dur:8th,Staccato|Pos:-3|Opts:Stem=Up,Beam=First
|Note|Dur:16th|Pos:-3|Opts:Stem=Up,Beam
|Note|Dur:16th|Pos:-3|Opts:Stem=Up,Beam=End
|Note|Dur:16th|Pos:-3|Opts:Stem=Up,Beam=First
|Note|Dur:16th|Pos:-3|Opts:Stem=Up,Beam
|Note|Dur:8th,Staccato|Pos:-3|Opts:Stem=Up,Beam=End
|Note|Dur:4th|Pos:-3
|Rest|Dur:4th
|Bar|Style:Double
|RestMultiBar|NumBars:3|PrintOnce:N|WhenHidden:ShowBars,ShowRests
|Bar
|Ending|Endings:1,3|Visibility:Never
|Dynamic|Style:ppp|Pos:-9|Justify:Right|Visibility:Never
|Ending|Endings:2,4|Visibility:Never
|Dynamic|Style:ff|Pos:-9.5|Justify:Right
|Ending|Endings:1,2,3,4|Visibility:Never
|Note|Dur:8th,Accent|Pos:-2|Opts:Stem=Up,Beam=First
|Note|Dur:16th|Pos:-4|Opts:Stem=Up,Beam
|Note|Dur:16th|Pos:-3|Opts:Stem=Up,Beam=End
|Note|Dur:8th,Staccato|Pos:-2|Opts:Stem=Up,Beam=First
|Note|Dur:8th,Staccato|Pos:1|Opts:Stem=Up,Beam=End
|Note|Dur:4th|Pos:-2
|Text|Text:"Divisi"|Font:PageSmallText|Pos:8
|Chord|Dur:8th|Pos:-6,-2|Opts:Stem=Up,Beam=First
|Chord|Dur:8th|Pos:-6,-2|Opts:Stem=Up,Beam=End
|Bar
|Chord|Dur:8th,Staccato|Pos:-3,-1
|Rest|Dur:8th
|Rest|Dur:4th
|Chord|Dur:8th,Staccato|Pos:-6,-2
|Rest|Dur:8th
|Rest|Dur:4th
|Bar
|Chord|Dur:16th|Pos:-6,-1|Opts:Stem=Up,Beam=First
|Chord|Dur:16th|Pos:-6,-1|Opts:Stem=Up,Beam
|Chord|Dur:8th|Pos:-6,-1|Opts:Stem=Up,Beam=End
|Chord|Dur:4th,Triplet=First|Pos:-5,0
|Chord|Dur:8th,Triplet=End|Pos:-6,-1
|Chord|Dur:4th|Pos:-7,-5
|Chord|Dur:8th|Pos:-7,-2|Opts:Stem=Up,Beam=First
|Chord|Dur:8th|Pos:-7,-2|Opts:Stem=Up,Beam=End
|Bar
|Text|Text:"Soli"|Font:PageSmallText|Pos:8
|Ending|Endings:1,3|Visibility:Never
|Dynamic|Style:ppp|Pos:-9|Justify:Right|Visibility:Never
|Ending|Endings:2,4|Visibility:Never
|Dynamic|Style:f|Pos:-9.5|Justify:Right
|Ending|Endings:1,2,3,4|Visibility:Never
|Note|Dur:8th|Pos:-3|Opts:Stem=Up,Beam=First
|Note|Dur:16th|Pos:-8|Opts:Stem=Up,Beam
|Note|Dur:16th|Pos:-6|Opts:Stem=Up,Beam=End
|Note|Dur:8th|Pos:-3|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=End
|Note|Dur:8th|Pos:-4|Opts:Stem=Up,Beam=First
|Note|Dur:16th|Pos:-9|Opts:Stem=Up,Beam
|Note|Dur:16th|Pos:-6|Opts:Stem=Up,Beam=End
|Note|Dur:8th|Pos:-4|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-2|Opts:Stem=Up,Beam=End
|Bar
|Note|Dur:8th|Pos:-3|Opts:Stem=Up,Beam=First
|Note|Dur:16th|Pos:-8|Opts:Stem=Up,Beam
|Note|Dur:16th|Pos:-6|Opts:Stem=Up,Beam=End
|Note|Dur:8th|Pos:-3|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=End
|Note|Dur:4th|Pos:-3
|Rest|Dur:4th
|Bar|Style:Double
|RestMultiBar|NumBars:6|PrintOnce:N|WhenHidden:ShowBars,ShowRests
|Bar
|Ending|Endings:1,3|Visibility:Never
|Dynamic|Style:ppp|Pos:-9|Justify:Right|Visibility:Never
|Ending|Endings:2,4|Visibility:Never
|Dynamic|Style:f|Pos:-9.5|Justify:Right
|Ending|Endings:1,2,3,4|Visibility:Never
|Note|Dur:8th|Pos:-3|Opts:Stem=Up,Beam=First
|Note|Dur:16th|Pos:-8|Opts:Stem=Up,Beam
|Note|Dur:16th|Pos:-6|Opts:Stem=Up,Beam=End
|Note|Dur:8th|Pos:-3|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=End
|Note|Dur:8th|Pos:-4|Opts:Stem=Up,Beam=First
|Note|Dur:16th|Pos:-9|Opts:Stem=Up,Beam
|Note|Dur:16th|Pos:-6|Opts:Stem=Up,Beam=End
|Note|Dur:8th|Pos:-4|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-2|Opts:Stem=Up,Beam=End
|Bar
|Ending|Endings:1,3|ClosedBracket:Y
|Rest|Dur:Whole
|Dynamic|Style:mf|Pos:-8|Justify:Center|Visibility:Never
|Bar|Style:MasterRepeatClose
|Ending|Endings:2,4
|Note|Dur:8th|Pos:-3|Opts:Stem=Up,Beam=First
|Note|Dur:16th|Pos:-8|Opts:Stem=Up,Beam
|Note|Dur:16th|Pos:-6|Opts:Stem=Up,Beam=End
|Note|Dur:8th|Pos:-3|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=End
|Note|Dur:4th|Pos:-3
|Rest|Dur:4th
|Bar
|Spacer|Width:50
|Bar
|RestMultiBar|NumBars:10|PrintOnce:N|WhenHidden:ShowBars,ShowRests
|Ending|Endings:2|Visibility:Never
|Bar|Style:MasterRepeatClose
|Ending|Endings:4|Visibility:Never
|Dynamic|Style:mf|Pos:-8|Justify:Right
|Note|Dur:16th|Pos:-6|Opts:Stem=Up,Beam=First
|Note|Dur:16th|Pos:-6|Opts:Stem=Up,Beam
|Note|Dur:8th,Staccato|Pos:-6|Opts:Stem=Up,Beam=End
|Note|Dur:16th|Pos:-6|Opts:Stem=Up,Beam=First
|Note|Dur:16th|Pos:-6|Opts:Stem=Up,Beam
|Note|Dur:8th,Staccato|Pos:-6|Opts:Stem=Up,Beam=End
|Note|Dur:8th,Staccato|Pos:-4|Opts:Stem=Up,Beam=First
|Note|Dur:8th,Staccato|Pos:-3|Opts:Stem=Up,Beam=End
|Note|Dur:8th,Staccato|Pos:-2
|Rest|Dur:8th
|Bar
!NoteWorthyComposerClip-End
162
General Discussion / Re: Thinking Through Flow
Hey Sebc, currently my brain is not in very good shape, severe lack of sleep, so there won't be any examples, but...

Something I often use is hidden special endings and hidden dynamics.  This takes advantage of some quirks that NWC has that I don't think were actually intended but which can be quite useful.  Specific results may be unpredictable.

E.G. for each time through that an instrument is silent you have a hidden special ending for that time through that has a hidden ppp dynamic, and each time the instrument plays you have another hidden special ending that has the correct dynamic (still hidden).

After each set of special endings you have a yet another hidden one that includes ALL the times through so the flow will work.

NB the hidden special endings ONLY contain dynamics.

The start of the song is, it appears, the chorus, so for the sax part you would have:
Hidden SE 1,2,4,5 normal dynamic, SE 3 ppp, hidden SE 1,2,3,4,5 music in the bar, barline, following bars... Visible? SE 1,4 REPEAT
Piano:
Hidden SE 1,5 ppp, SE 2,3,4 normal dynamic, hidden SE 1,2,3,4,5 music in the bar, barline, following bars... Visible? SE 1,4 REPEAT

To end the song, after the SE 1,4 repeat you have Visible? SE 5 with a fine and Section Close bar.  To allow the verse, after the SE 1,4 repeat and SE 5 you have the SE 2,3 verse bars and repeat sign.  Both Sax and Piano should have correct dynamics for the verse as every time the verse happens both of them play.

I think I have the basic instructions OK - but now my brain hurts too much to continue (and no, I'm not hungover, just over tired :) )

You will need to play around - be aware: decorated barlines stop the repeat counter - if you need *some (other than repeat barlines of course) you'll need to simulate them, or use a text entry of some kind.  (E.G. a double barline can be made with a normal barline, a spacer, and another normal barline.)  I suggest you get things going without any decorated barlines, then add whatever you need and make sure they don't screw up the flow.

Hope this is more helpful than confusing.

* The section close in SE5 is OK.
163
General Discussion / Re: Cue notes below multi-measure rests
I haven't tried it, but in the lower staff I would use either single bar rests, or perhaps hidden notes to attach the grace notes to, or better still use the "CueHeads.ms" user object to create the cues from headless normal notes where you want the cues, and the remainder of the rest period with multibar rests, hide the barline.

Wait a tick...

Ok, possible example using CueHeads attached

165
General Discussion / Re: Space for second page title
Change the top margin setting?  This will affect every page, but maybe you can adjust the space for the first page to accommodate?  I assume you have turned off "Title Page Info" given you are using PageTxtMaestro for this function.
166
General Discussion / Happy New Year - 2023
Hi all,
just wishing everyone a Happy New Year for this year of 2023.

May we all be blessed with health, peace and prosperity in our lives this year.

Lawrie
167
General Discussion / Re: Merry Christma
Hey Lorenzo, thanks for starting this thread.
A very merry Christmas to you, and to all who frequent this forum, merry Christmas to you and yours.

If you're so inclined, let us all hope and pray for a happy and prosperous new year, good health and peace to all.

168
General Discussion / Re: PageTextMaestro and PageText.
Hi David,
this isn't quite exactly what you asked for, but it's close enough for you to figure it out I'm sure.

The TOP staff, is the one that provides relevant information for a conductors score.  You ONLY use it for that purpose  When printing parts don't make it active.  When printing parts just activate the staff/staves of the part you want.

Page numbering looks like: 1/4, 2/4 etc..  This is done using directives in the comments and specific parameters in the:
"PgTxt: PageNumber"
objects. 
In the comments you will see three current variables:
TotalPages: /1
TotalPianoPages: /1
TotalScorePages: /4

I'll let you explore to see how it all works.  Note some PgTxt objects are always visible, some are top staff only, some are once...  You'll need to check them out.

The objects on ALL staves except the Score staff and the Piano staves are IDENTICAL, but if instruments end up needing different total page counts they need to reference additional variables in the comments section and thus the "PgTxt: PageNumber" object will need updating for that staff.
169
General Discussion / Re: Pease help with download
Hey Warren,
If you still have access to your old computer, look in the:
C:\Program Files (x86)\Noteworthy Software\NoteWorthy Composer 2\Setups
folder.  You should find the installer for the version of NWC2 your were using.
173
General Discussion / Re: The best application to remove the music/instrument
Quote from: FrankSit –
Thank you Lawrie, that is what I did, but it is very difficult to adjust the starting point to get them to sync up. In aduacity I am trying to find the menu that can snap the certain point of the time line. Move it and snap it to : 38 s
My best suggestion is to do a search on YouTube.
I would try:
how to align tracks in audacity
or
how to sync tracks in audacity
174
General Discussion / Re: The best application to remove the music/instrument
Quote from: FrankSit –
Hello,
Based on your experience what is the best application/software that can remove the instrument completely. Because what I did is trying to sing for each voice on each staff with the piano, then I want to remove the music then I combine the 4 voices to procude the quartet in acapella. I try to use Audacity, but the result is not good.

Thank you for any idea.

Frank
If you're using a real piano this won't work directly (you'll need an extra step), but if you're using an electric piano or NWC, then use headphones to listen to the playback and sing into a digital recorder or mic on your computer (if recording to the computer you most likely won't be able to playback at the same time.

If you need to use the computer to record AND you need it to do the piano playback; try doing a playback to create an mp3 file which you can then put on your phone and use headphones plugged into the phone to listen to the mp3.

If you're using a real piano, then just record it to mp3 first (this is the extra step mentioned above).

This way you won't get the instrument sound in the recording.

Do this for each voice (use as many takes as you need to get a good one), then use Audacity or similar to copy in each file to create a new file that contains all 4 vocal tracks.  You will undoubtedly need to adjust each track's starting point to get them to sync up.
175
General Discussion / Re: Melisma
Hey Lorenzo,
the bold bit is the culprit:
<edit> Oops, I stand corrected - see post below - Thanks Mike

melisma no
|User|Melismatic.nw|Pos:0|Class:StaffSig

melisma sì
|User|Melismatic.nw|Pos:2|Class:Span

From NWC help:
Quote
The object class can be used to enable a special behaviour. When an object is assigned to the StaffSig class, it will be automatically included in every printed page system, in a similar fashion as is done with Clef and Key Signature items.

What you need is the "Span" behaviour which I couldn't find a reference for, but is needed to allow the object to span across other objects (E.G. notes) in the staff.
176
General Discussion / Re: Dividing a song into sections
G'day,
Quote from: dorreke –
<snip>
BTW, how do I insert a pause on a note.  If "pause" is the right name for it ... that arch with a dot in the middle of it that goes over a note.
That's a Fermata, or pause, or "bird's eye" and probably a few more I haven't heard.  Pause works for me  ;)

You'll find it in the |Insert|Tempo Variance...| dialogue as a Fermata in the list box.  Press E to get to the same place without using the menus.

OR, if you have selectors in a toolbar, press D for "Dynamics and Symbols Selector" and it will be in the window that appears.  You don't get the normal dialogue here, just place the object.

If you want the pause to actually take time, you need to select a delay from the main Tempo Variance dialogue box.  Be careful to only put an actual delay in ONE staff.  Otherwise the delays aggregate and will end up longer than you want.
177
General Discussion / Re: flow question re: choruses, repeats, endings question
Quote from: SEBC –
Thank you so much. I do need the score to look as I sent, so have made the invisible changes, which did fix the flow issues.
A pleasure.  Glad it helped.

Quote from: SEBC –
One thing that you omitted was a hidden master repeat at the end of Special ending 2.
There's always some little thing isn't there?  :-[

Quote from: SEBC –
I am going to screen record the playback for the choristers, so they can practice with a video, so I won't be able to use the print preview, so those lyrics in ending 2 and 3 and stuck at the lower level.
Bit disappointing that.  I tried an experiment with lower boundary changes and viewer mode but it didn't help so you can't get around it using the viewer either.
178
General Discussion / Re: flow question re: choruses, repeats, endings question
Thanks mate, made it much easier.

  • The way you have it is, IMHO, the neatest presentation, but NWC will never chase the 3rd verse because of how its internal logic works.
  • If getting the chase correct is important then I would do the following:

  • Eliminate the DS, To Coda and Coda directives
  • Eliminate the decorated barline (Section Open) at the start of the current coda
  • Make the current coda Special Ending 3
  • Move the lyric line for the Coda (now S.E.3) into the 3rd verse to keep the chase working. (You'll need to use "_"s in the lyrics dialogue to use up notes that you don't want the lyrics to appear under to get the location correct.
  • Lose the gap as it no longer serves a purpose
  • Move the S.E. 2 lyrics into the second verse so they'll chase properly. (More "_"s required)
  • Use Boundary Offsets where needed to reduce the staff lower offset to raise the lyric line to your preferred vertical position (it won't show this in the editor, only in print preview - not sure if it will show in the viewer...)

If you want to keep the current appearance but still have it chase correctly, then setup the changes as invisible and replace the DS, To Coda and Coda directives as text entries instead.  The gap can remain as it doesn't impact flow. 
Regardless, the Section Open bar at the start of the Coda must go as it kills the flow when using repeats.  I.E. It will never get to the 3rd S.E.  I'm also pretty sure it isn't correct usage in a coda anyway.
N.B. ALL decorated barlines do this to the flow.  I remember it being a point of contention WRT double barlines many years ago.

I hope this is at least somewhat helpful.
180
General Discussion / Re: Note in number
Hi Frank,
as you didn't show any examples I wasn't sure what you were talking about, so I had a look at wikipedia and have been suitably educated:
https://en.wikipedia.org/wiki/Numbered_musical_notation

At first I wasn't sure NWC is really the best tool for this, and as it stands it isn't, BUT it strikes me that it might be a good candidate for a NWC user tool, or perhaps a user tool/user object combination.  If you can find someone to write it...  NWC's user based extensibility makes it a much better candidate than I first thought.

Otherwise manually entering the numbering would quickly get very tedious.  Especially trying to place the octave dots.

It also occurs to me that a purpose made font could make this a lot easier.  One with octave dots in "no space" characters similarly to how I've made lines and brackets etc. in my *Dings font suites.

I also note the limitations mentioned in the article, particularly (Bolding mine):
Quote
Compared with the standard notation, the numbered notation is very compact for just the melody line or monophonic parts. It is even possible to transcribe music in between the lines of text. Transcribing harmony can be done by vertically stacking the notes, but this advantage diminishes as the harmony becomes more complex (or polyphonicity increases). The standard notation, with its graphical notation, is better in representing the duration and timing among multiple notes.

I can see how for your apparent needs these limitations are probably not a big issue.

I'm sorry that I can't think of an easy method without creating tools.
181
General Discussion / Re: NWC files not opening properly
Have there been recent changes to your system, like a Windows update?

I haven't seen the behaviour you're describing in NWC, but I have certainly seen it in other software.  This makes me think there's most likely a Windows glitch of some kind.

A google search using this search term "Double click file and application opens but doesn't open file" returned a bunch of results - many, as usual, didn't appear to be particularly helpful, but that's my best suggestion for now.

182
General Discussion / Re: vertical line
Quote from: Flurmy –
Probably you missed an "e": "Note that NWC implements all 3 identically as far as I can tell."
Basically there are two groups of tempo variances.
The first is "Breath mark", "Caesura" and "Fermata", in which you can specify a delay.
The second is composed of all the remaining items and, as far as I know, they are all equivalent for NWC.
There are always the options "Top staff only" and "Single staff prints".
Yep, typo there, missed the "e".

"Top Staff Only" and "Single Staff Prints" work fine, EXCEPT, if you have "unneccessary" tempo markings on more than one staff it can make finding the offending one more than a little frustrating if tempo changes are made at a later date and the change doesn't "take" because a tempo mark on a lower staff overrides the change just made.

That's just one of the reasons I use layered staves to put things like tempo marks etc. when I must create parts from a score and the parts need (obviously) the common markings.
183
General Discussion / Re: Placing objects at left edge of staff
I have successfully left aligned text entries at the start of a system using the following:
  • Provided you aren't putting the text entry at the very start, modify the clef to disable automatic system clef
  • If there are systems between the start and where you want the text entry, manually place clefs at the start of each system, also with automatic system clef disabled, until you reach where you want the text entry
  • Force a system break immediately before where you want the text entry to be
  • Place the text entry - left aligned at next note/bar
  • Put in a transparent barline - this barline will sit at the start of the system.  It should be transparent because it is incorrect to start a system with a barline.
  • Put in the clef.  This time automatic system clef can remain enabled unless you have more text entries to make on subsequent systems
  • The text entry will align with the transparent barline

Code: (nwc) [Select · Download]
!NoteWorthyComposerClip(2.751,Single)
|Clef|Type:Treble|AutoSys:N
|TimeSig|Signature:4/4
|Rest|Dur:Whole
|Bar
|Rest|Dur:Whole
|Bar
|Rest|Dur:Whole
|Bar
|Rest|Dur:Whole
|Bar|SysBreak:Y
|Clef|Type:Treble|AutoSys:N
|Rest|Dur:Whole
|Bar
|Rest|Dur:Whole
|Bar
|Rest|Dur:Whole
|Bar
|Rest|Dur:Whole
|Bar|SysBreak:Y
|Text|Text:"Text Entry"|Font:StaffItalic|Pos:11|Placement:AtNextNote
|Bar|Style:Transparent
|Clef|Type:Treble
|Rest|Dur:Whole
|Bar
|Rest|Dur:Whole
|Bar
|Rest|Dur:Whole
|Bar
|Rest|Dur:Whole
|Bar|SysBreak:Y
|Rest|Dur:Whole
|Bar
|Rest|Dur:Whole
|Bar
|Rest|Dur:Whole
|Bar
|Rest|Dur:Whole
|Bar|Style:SectionClose|SysBreak:Y
!NoteWorthyComposerClip-End
184
General Discussion / Re: vertical line
Hi Frank,
Quote from: FrankSit –
Thank you Lawrie for your enlightening me. What about the tempo variance at the end, I tried to enter ritardanto, but it can only wirte ritard., I want it to write like in the song sheet " rit.", how can I make it, and should we only put it on the 1st staff?, I have 4 staves to make.
"rit." is actually short for "ritenuto" not "ritardando".  In NWC these symbols only affect the actual tempo if there is a target tempo mark.  You can make it invisible if you want.  Don't forget to re-establish the correct tempo once the rit./ritard./rall. section is complete.  Not that NWC implements all 3 identically as far as I can tell.

Where you place these marks depends on how you will present the chart.  If each part will be individually printed then you'll need to put them on every staff, BUT if the parts will always be printed together on one page then you have more options.

However, it's best to put the hidden tempo marks on one staff only so you don't need to go looking for the mark that's mucking up your tempo  ;)   Ditto for any pause/breath mark/caesura delays: Show the marking on each but only set the delay on ONE staff.

Quote
Also the tempo of qaurter not = 100. Should I make it in every staves?. Or what is the guide line that we should make for every staff or just in one staff.

Again, if the parts will be printed individually then each staff needs the tempo marks.  If they will always be printed together then you have options.

See also:
https://nwc-scriptorium.org/helpful/leadsheetsinnwc2.pdf
for some ideas.  This workflow description is just how I used to do it in 2010.  What I do now is basically the same, though I have developed it a bit.
Note that this is a collection of ideas and techniques - if it helps you improve your workflow then it's done its job.
185
General Discussion / Re: vertical line
Quote from: FrankSit –
<snip> But how can we key in fermata in order to have a delay, because when I play it there is no delay.
<snip>
Cool, Indonesian Barbershop  ;D

You can use the properties dialogue of the fermata to add a delay in 16th note time values.  WARNING: only apply the delay to one staff.  If you add it to matching the fermatas in each staff the delays sum and it'll be longer than you want.
187
General Discussion / Re: vertical line
Hi Frank,
that is, indeed, a bar line.

Bar lines don't always have to appear on a measure boundary.  Sometimes, especially in the case of some hymns, there may be a pause or delay on a beat before the last beat of the measure.  Hymns like this start with an anacrucis (up-beat), and the seemingly wrong placement of a bar line is there to "even out" measures to take the anacrucis into account.

Simply place a normal bar line, but don't do an "Audit Bar Lines" or it will get mucked up  :))
I would also consider setting the bar line to be excluded from the bar count, but that's up to you.

If you look at bar 9 in your photo, you will note there is a pause on the 3rd beat, then the bar line, and then a backwards quaver (eighth) rest in the un-numbered bar.  The backwards quaver rest is an old style crotchet (quarter) rest, so between bar 9 and the un-numbered bar you have 4 crotchets, or a full measure, just as you should.

This is driven by the lyrics, as is the anacrucis at the start of the piece.  You hold the lyirc at the pause (this finishes the verse), then continue with the chorus, which effectively has its' own anacrucis.  I would bet that the very last bar of the chorus is also only 3 beats long.

Modern music doesn't usually bother with split measures in the middle, though they should have a short bar at the end if they start with an anacrucis. 

188
General Discussion / Re: what key signature/cleff
Hey Frank,
that's an old style "moveable C clef".  The line or space (as in this case) that fits in the gap between the 2 sloping lines is middle C.

The modern shape of the clef is primarily used for Tenor and Alto clefs, BUT in those cases middle C is on a line.

If appearance isn't important to you just use a Treble clef but with the octave down setting applied.  I.E. Treble 8vb.
This will make everything look and sound correct.  If appearance is important then still use the Treble 8vb clef, BUT make it hidden and disable the automatic clef option.  Put a transparent barline at the start of each system and then use a text entry to put the Alto/Tenor clef symbol left justified at next note/bar  immediately prior to the transparent barline, making sure the vertical position puts the gap in the brace looking section over the C space.  I.E. halfway between where an Alto and a Tenor clef would sit.

Copy the below code and "Paste as New File" for a demo.  The rectangular box on the line "|Text|Text:" is the C clef symbol from the NWC Staff Symbols font.  It will look fine in  NWC.
Code: (nwc) [Select · Download]
!NoteWorthyComposerClip(2.751,Single)
|Text|Text:""|Font:StaffSymbols|Pos:-3|Placement:AtNextNote
|Bar|Style:Transparent
|Clef|Type:Treble|OctaveShift:Octave Down|AutoSys:N|Visibility:Never
|Rest|Dur:Whole
|Bar
|Rest|Dur:Whole
|Bar
|Rest|Dur:Whole
|Bar
|Rest|Dur:Whole
|Bar|SysBreak:Y
|Text|Text:""|Font:StaffSymbols|Pos:-3|Placement:AtNextNote
|Bar|Style:Transparent
|Rest|Dur:Whole
|Bar
|Rest|Dur:Whole
|Bar
|Rest|Dur:Whole
|Bar
|Rest|Dur:Whole
|Bar|Style:SectionClose|SysBreak:Y
!NoteWorthyComposerClip-End

191
General Discussion / Re: What is this?
Hey Flurmy.
can't help you with this one.  Like you I can pretty much guess, but I don't definitely know the answer.
192
General Discussion / Re: changing the key
Quote from: Flurmy –
Indeed, playing the "natural" scale on both the alto and the sopranino recorder you get a scale of F while, with the soprano and tenor, you get a scale of C, but it's a player's duty to "transpose" because the whole family is written in concert pitch.
<snip>
ARRGGHHHH ;)

Here's another little oddity I've seen in European, but never in American or Australian or British sheet music.

You may have noted from my little missive on transposing instruments that I said transposed music was always in treble clef...  This isn't actually quite correct.  I should have said "usually".
The exception that I see occasionally in European published sheet music for concert bands is transposed BASS clef.
It seems to work like this: You will be supplied with, say, a Euphonium part in 2 or maybe 3 flavours:
  • Euphonium (sometimes it will say Euphonium in C)- this will be concert pitch bass clef
  • Euphonium in Bb - this will be a transposed part in treble clef
  • Euphonium in Bb - BC (or Bass Clef) - this will be a transposed part in bass clef

You always seem to get the concert bass clef part and in addition you usually get the transposed treble clef part, and often the transposed bass clef part as well.  It's the last one, the transposed bass clef part that drives me nuts.

I can read concert treble and sight transpose for a Bb instrument no problems, I can read transposed treble no problems, I can read concert tenor clef no problems, ditto concert bass clef parts, but those damn transposed bass clef parts seem to trigger a serious mental block for me.  I just can't seem to do it.  Perhaps a little serious application might make it work, but I really don't see the point of them. As far as I can tell all they do is add confusion.  Even our band librarians (I'm in a couple of concert bands) don't like them because of the added, and seemingly useless, inventory.

If they actually serve a useful purpose then I'm happy to be enlightened.

<edit> Minor correction here: French Horn (in modern notation) while usually in treble clef, may sometimes also include bass clef sections.  These are ALL transposed, they don't transpose just the treble portion but the bass as well.  This is perfectly logical to me, but I'm glad I don't play horn ;)
</edit>
193
General Discussion / Re: changing the key
Hey David,
yep, you're absolutely correct regarding reeds/woodwinds.  I have no idea how they decided what defines a Bb, F, Eb, A, C instrument in these categories.  BUT as I understand it they mostly have quite similar, or even identical, fingering systems.  So the fingering for a "C" will produce a concert Bb on a Bb instrument, the same (almost) fingering on an Eb instrument will still be called a C but produce a concert Eb etc..

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.
194
General Discussion / Re: Key signature
Hey Flurmy,
was just thinking about how I'd notate this, assuming you want to maintain period authenticity...
Place a text entry using the staff symbols font containing the G (treble) clef symbol placed vertically so it looks right. 
Then put a hidden bass clef with automatic system clef disabled.
Finally put a plus 24 transposition on the staff. 

Looks right, key sigs will work out of the box and it sounds right.  The only down side is you'll have to manually copy the text clef symbol to the start of each staff (assuming the original does that).

If you want the key sigs to look right then there's a little more challenge:
place them, hide them, turn off automatic key signature.  Then place text entries with x's in them.  Placement will be a bit of a challenge and you'll need to play with justification, and maybe spacers...  And copy them to the start of each staff (still assuming the original does that)

Hang on...

OK, see the code section below.  Not perfect, but a fair approximation I reckon.
Code: (nwc) [Select · Download]
!NoteWorthyComposer(2.751)
|Editor|ActiveStaff:1|CaretIndex:15|CaretPos:-1
|SongInfo|Title:"French Violin Clef"|Author:"<Name>"|Lyricist:""|Copyright1:"Copyright © 2022 <Name>"|Copyright2:"All Rights Reserved"
|PgSetup|StaffSize:16|Zoom:10|TitlePage:Y|JustifyVertically:Y|PrintSystemSepMark:N|ExtendLastSystem:N|DurationPadding:Y|PageNumbers:0|StaffLabels:None|BarNumbers:None|StartingBar:1
|Font|Style:StaffItalic|Typeface:"Times New Roman"|Size:10|Bold:Y|Italic:Y|CharSet:0
|Font|Style:StaffBold|Typeface:"Times New Roman"|Size:8|Bold:Y|Italic:N|CharSet:0
|Font|Style:StaffLyric|Typeface:"Times New Roman"|Size:7.2|Bold:N|Italic:N|CharSet:0
|Font|Style:PageTitleText|Typeface:"Times New Roman"|Size:24|Bold:Y|Italic:N|CharSet:0
|Font|Style:PageText|Typeface:"Times New Roman"|Size:12|Bold:N|Italic:N|CharSet:0
|Font|Style:PageSmallText|Typeface:"Times New Roman"|Size:8|Bold:N|Italic:N|CharSet:0
|Font|Style:User1|Typeface:"Times New Roman"|Size:8|Bold:N|Italic:N|CharSet:0
|Font|Style:User2|Typeface:"Times New Roman"|Size:8|Bold:N|Italic:N|CharSet:0
|Font|Style:User3|Typeface:"Times New Roman"|Size:8|Bold:N|Italic:N|CharSet:0
|Font|Style:User4|Typeface:"Times New Roman"|Size:8|Bold:N|Italic:N|CharSet:0
|Font|Style:User5|Typeface:"Times New Roman"|Size:8|Bold:N|Italic:N|CharSet:0
|Font|Style:User6|Typeface:"Times New Roman"|Size:8|Bold:N|Italic:N|CharSet:0
|PgMargins|Left:1.27|Top:1.27|Right:1.27|Bottom:1.27|Mirror:N
|AddStaff|Name:"Staff"|Group:"Standard"
|StaffProperties|EndingBar:Section Close|Visible:Y|BoundaryTop:12|BoundaryBottom:12|Lines:5|Color:Default
|StaffProperties|Muted:N|Volume:127|StereoPan:64|Device:0|Channel:1
|StaffInstrument|Trans:24|DynVel:10,30,45,60,75,92,108,127
|Text|Text:""|Font:StaffSymbols|Pos:-6
|Clef|Type:Bass|AutoSys:N|Visibility:Never
|Key|Signature:F#,C#|Tonic:D|HideCancels:Y|AutoSys:N|Visibility:Never
|Spacer|Width:300
|Text|Text:"x"|Font:PageSmallText|Pos:2.5
|Text|Text:"x"|Font:PageSmallText|Pos:2.5|Justify:Center
|Text|Text:"x"|Font:PageSmallText|Pos:-0.5
|Text|Text:"x"|Font:PageSmallText|Pos:-0.5|Justify:Center
|Spacer|Width:100
|Text|Text:"2"|Font:PageSmallText|Scale:150|Pos:0|Wide:Y
|TimeSig|Signature:AllaBreve|Visibility:Never
|Spacer|Width:100
|Note|Dur:8th|Pos:2|Opts:Stem=Down,Beam=First
|Note|Dur:8th|Pos:1|Opts:Stem=Down,Beam=End
!NoteWorthyComposer-End
195
General Discussion / Re: Key signature
Quote from: Flurmy –
What keys are those?
"D"
The bass (F) clef is pretty obvious, but the "G" clef is not at first glance.  It is NOT a treble clef, as a treble clef puts the G on the second line, in this case the G is on the bottom line so it's a French Violin clef.  If you read it as if it were a bass clef, but at 15ma then the notes will be right.  The G is indicated by the centre of the spiral of the clef; it encircles the G location, in this case the bottom line.

The time signature is, I believe, part of a "proportion" of a mensural time signature and is equivalent to 2/2 or cut-common in modern parlance.
196
General Discussion / Re: How would you play this?
Quote from: David Palmquist –
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.
<snip>
You're probably right, but given there seems to be no key sigs. I'd be happier if the parts were labelled something like: Bass Clari. in Bb etc..

Quote
<snip>
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.
<snip>
They're tied, not slurred so I interpret it as Db all the way through.  I reckon the first note was placed, then copied to the next bar and the engraver forgot to remove the extraneous flat.  Lost count of the number of times I've done the same thing  ::)

Is there another bass instrument part you can compare with?  Maybe a bari sax, or tuba, or double bass - even bass trom.  There's often a doubling of that nature and you can see if it's the same.
197
General Discussion / Re: How would you play this?
Hey David,
with the parts transposed as stated* then:
the Db in the Bass Clari. is a concert B
the D# in the oboe is a concert D#
the Bb in the English horn is also a concert D# if my transposition is correct.

Assuming the bass clari is playing the root, maybe a B chord?  Especially if there's concert F#'s elsewhere.

Being a devil's advocate here  :)) : if there's no key signatures how do you know the parts are transposed?  :P

If the parts could be considered all in concert then the we have Db, Bb and D# (Eb?)...  Maybe an Eb7? with the G in another instrument?  But with the bass on the 7th?  Nah...  What about a Db6/9?  Maybe.., sumpthin's up  ::)
198
General Discussion / Re: How would you play this?
G'day David,
To me, no key signature is C or Am...  Though this bit:
Quote
I've confirmed the oboe and english horn parts also have no key signatures.
gives me pause...  Bass Clari is in Bb, Oboe is concert and English Horn is in F so either the score has been written with all parts in concert (and I assume the printed parts would be transposed), or your "open key" interpretation is correct.

As an intellectual exercise, what notes do the oboe and english horn have at the same part of the score as the bass clari. part shown?  Perhaps we can get an idea as to the functional key centre from that.  Perhaps worth comparing with other parts too.

As for the clip, I would interpret them the same as you: the notes are tied so they're all Db.  If they were slurred then the latter 2 would be D nat.
199
General Discussion / Re: So, what?
Caveat: I'm not formally trained in music theory, what I know I've "soaked up through my skin", so the following is what I've learned that way and may not accurately equate to "the rules".

If there is a 1/4 = 1/4 at each time signature change then the tempo remains at 1/4 = 168.  If there is no marking at the first 2/4 and/or the 3/2 then I would expect the 1/4 = 1/4 to be implicit.
The most likely reason for the time sig. changes is to adjust the meter so that implied emphasis appears in the right place.
3/4 = 1, 2, 3   1, 2, 3   1, 2, 3
2/4 = 1, 2   1, 2   1, 2   1, 2
3/2 = a "wider" 1, 2, 3; or perhaps 1, 2, 3, 4, 5, 6; or maybe 1, 2, 3, 4, 5, 6.  This will depend on context though the latter 2 possibilities would most likely have been notated as 6/4 rather than 3/2.

It's also possible the 3/2 could be interpreted as 1/4 = 1/2 (which would halve double the original tempo), thus the explicit 1/4 = 1/4 at the following 2/4 (which would keep the half double original tempo) - let context be your guide...

I've played in a lot of bands and orchestras under a lot of different conductors and and band leaders and the one constant is that none of them seem to agree on how changes from x/4 to x/2 to x/8 should relate...  They almost always use context to figure it out.

Pretty sure most composers have their own ideas too.

I'm not sure what Gould has to say about this but I'm confident her interpretation is most likely correct.  Tempo equations help a LOT

<edit> Aside from the first paragraph, edits are in italics.  The first para is italicised for emphasis. </edit>
200
General Discussion / Re: So, what?
Hey Flurmy,
I can't read the time signature properly in the first image, but it looks like it might be a 3/4.  The second is a 2/4. 
The crotchet = crotchet is just saying that the tempo (crotchets per minute) is unchanged despite the change in time signature.