Skip to main content ↑ ↓

Messages

This section allows you to view all Messages made by this member. Note that you can only see Messages made in areas you currently have access to.

Messages - Lawrie Pardy

201
General Discussion / Re: Start-Cancel/Forbid collapsible section
Quote from: lawrroc –
Thank you! I try to answer, as far as possible, always quickly but my interventions go through the Google translator! I have read your observations, always valuable and relevant. I didn't understand everything: I'll try to understand better, using the complete guide (translated ...).
Let's try this - I'll tell you what to do and you can see the changes:
a) Staff "7 Bar": and "8 Bassi", at bars bar 10, 11 and 12:  change the slur direction like this:

"7 Bar"
Code: (nwc) [Select · Download]
!NoteWorthyComposerClip(2.751,Single)
|Note|Dur:8th|Pos:5|Opts:Stem=Up,Slur=Upward
|Note|Dur:4th|Pos:5|Opts:Stem=Up,Slur=Upward
|Note|Dur:8th|Pos:6|Opts:Stem=Up,Slur=Upward
|Note|Dur:8th,Slur|Pos:5|Opts:Stem=Up,Slur=Upward,Beam=First
|Note|Dur:8th|Pos:4|Opts:Stem=Up,Slur=Upward,Beam=End
|Note|Dur:4th|Pos:2|Opts:Stem=Up,Slur=Upward
|Bar
|Note|Dur:4th,Slur|Pos:4|Opts:Stem=Up,Slur=Upward
|Note|Dur:Half|Pos:2|Opts:Stem=Up,Slur=Upward
|Note|Dur:8th,Dotted|Pos:4|Opts:Stem=Up,Slur=Upward
|Note|Dur:16th|Pos:4|Opts:Stem=Up,Slur=Upward
|Bar
|Note|Dur:4th|Pos:5|Opts:Stem=Up,Slur=Upward
|Note|Dur:4th|Pos:7|Opts:Stem=Up,Slur=Upward
|Note|Dur:4th,Slur|Pos:6|Opts:Stem=Up,Slur=Upward
|Note|Dur:4th|Pos:5|Opts:Stem=Up,Slur=Upward
|Boundary|Style:Collapse
|Bar
!NoteWorthyComposerClip-End

"8 Bassi"
Code: (nwc) [Select · Download]
!NoteWorthyComposerClip(2.751,Single)
|Note|Dur:8th|Pos:5|Opts:Stem=Down,Slur=Downward
|Note|Dur:4th|Pos:5|Opts:Stem=Down,Slur=Downward
|Note|Dur:8th|Pos:6|Opts:Stem=Down,Slur=Downward
|Note|Dur:8th,Slur|Pos:5|Opts:Stem=Down,Slur=Downward,Beam=First
|Note|Dur:8th|Pos:4|Opts:Stem=Down,Slur=Downward,Beam=End
|Note|Dur:4th|Pos:2|Opts:Stem=Down,Slur=Downward
|Bar
|Note|Dur:4th,Slur|Pos:4|Opts:Stem=Down,Slur=Downward
|Note|Dur:Half|Pos:2|Opts:Stem=Down,Slur=Downward
|Note|Dur:8th,Dotted|Pos:4|Opts:Stem=Down,Slur=Downward
|Note|Dur:16th|Pos:4|Opts:Stem=Down,Slur=Downward
|Bar
|Note|Dur:4th|Pos:5|Opts:Stem=Down,Slur=Downward
|Note|Dur:4th|Pos:7|Opts:Stem=Down,Slur=Downward
|Note|Dur:4th,Slur|Pos:6|Opts:Stem=Down,Slur=Downward
|Note|Dur:4th|Pos:5|Opts:Stem=Down,Slur=Downward
|Boundary|Style:Collapse
!NoteWorthyComposerClip-End

b) staff "10 Basso stacatto" is on MIDI channel 10.  Go to the staff properties <Alt+Enter> Select the MIDI tab, and change the MIDI channel to 15 instead of 10.  MIDI channel 10 is for percussion/drums. MIDI Channel 15 is the next unused one in your score.

c) Always assign an instrument to each staff.  Go to staff properties <Alt+Enter> Select the Instrument tab and assign an instrument using the "Predefined instruments..." button

Quote
The only point on which I can answer you without difficulty is the "semibreve" argument of the 9th bar. I am attaching an image that should clarify the doubt.
Thanks again for your help and a happy night / evening / morning / afternoon, depending on your time zone ...
Lorenzo
Yes, because of stem directions it needs its own staff.

Always happy to help.  I'm in Australia, on the East coast, so I think I'm 9 hours ahead of you.  Sleep well.
202
General Discussion / Re: Start-Cancel/Forbid collapsible section
Hi Lorenzo, thank you for your kind words.  I am happy to be of assistance.

OK, after a brief look I have some observations:
a) there are some spots in the "7 Bar" and "8 Bassi" staves that would benefit from changing the slur direction.  Upwards for "7 Bar" and down for "8 Bassi".  E.G. bars 10, 11 and 12.  You might also consider slur markers to further refine placement.

b) staff "10 Basso stacatto" is on MIDI channel 10 (probably auto assigned by NWC - a small failing in the software IMHO...).  This is not a great idea as channel 10 is reserved for percussion.  Best to move it to the next free channel which is 15.

c) I notice you haven't assigned any patches (instruments) to the staves.  A fresh start of NWC will normally see them automatically behave as patch 0 (Acoustic Grand Piano), BUT if you playback a song that has instruments assigned and then playback this one without first restarting NWC, you will get the instrument assignments from the previous song.  It is a good practice to always assign a patch to each staff.

d) I'm not sure what you meant by the missing semibreve...

e) Peter has already advised you about the orchestral staff thing.
203
General Discussion / Re: Start-Cancel/Forbid collapsible section
Quote from: lawrroc –
Hi Lawrie, your result is just what I was looking for and I have not been able to achieve! Optimal! I have to study your code and the consequent nwc file thoroughly and get a clear and definitive idea of the use of collapsables.
<snip>
Glad it suits mate.

As a clue to find the differences quickly, just look at bar 18 in both scores.  The changes are only in the Falsetti Ten. I&II staves.  NB the location of the system break in the top staff is part of the picture.
204
General Discussion / Re: Start-Cancel/Forbid collapsible section
Hi Lorenzo,
does this suit?
Code: (nwc) [Select · Download]
!NoteWorthyComposer(2.751)
|Editor|ActiveStaff:1|CaretIndex:36|CaretPos:12
|SongInfo|Title:"Deep River"|Author:"Trascrizione di R. Dionisi"|Lyricist:"negro spiritual"|Copyright1:""|Copyright2:""
|PgSetup|StaffSize:16|Zoom:4|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:Y|Italic:Y|CharSet:1
|PgMargins|Left:1.27|Top:1.27|Right:1.27|Bottom:1.27|Mirror:N
|AddStaff|Name:"Staff-3"|Group:"Standard"
|StaffProperties|EndingBar:Section Close|Visible:Y|BoundaryTop:10|BoundaryBottom:10|Lines:5|WithNextStaff:ConnectBars|Color:Default
|StaffProperties|Muted:N|Volume:127|StereoPan:64|Device:0|Channel:5
|StaffInstrument|Trans:0|DynVel:10,30,45,60,75,92,108,127
|Boundary|Style:Collapse
|User|BarCounter.nw|Pos:7|Class:StaffSig|AllBars:Y
|Clef|Type:Treble
|Key|Signature:F#,C#|Tonic:D
|TimeSig|Signature:Common
|Rest|Dur:Whole
|Bar|Style:MasterRepeatOpen
|Rest|Dur:Whole
|Bar
|Rest|Dur:Whole
|Bar
|Rest|Dur:Whole
|Bar
|Rest|Dur:Whole
|Bar
|Boundary|Style:NewSystem|NewPage:N
|Rest|Dur:Whole
|Bar
|Rest|Dur:Whole
|Bar
|Rest|Dur:Whole
|Bar
|Rest|Dur:Whole
|Bar|Style:MasterRepeatClose
|Boundary|Style:NewSystem|NewPage:N
|Rest|Dur:Whole
|Bar
|Rest|Dur:Whole
|Bar
|Rest|Dur:Whole
|Bar
|Boundary|Style:NewSystem|NewPage:N
|Boundary|Style:EndCollapse
|Rest|Dur:Half
|Rest|Dur:4th
|Text|Text:"Falsetti"|Font:User6|Scale:80|Pos:10|Color:1
|Note|Dur:4th|Pos:-1
|Bar
|Note|Dur:4th|Pos:3
|Note|Dur:4th|Pos:2
|Note|Dur:4th|Pos:5
|Note|Dur:4th|Pos:6^
|Bar
|Note|Dur:4th|Pos:6
|Note|Dur:4th|Pos:7
|Note|Dur:4th|Pos:4
|Note|Dur:4th|Pos:3
|Bar
|Note|Dur:Half,Dotted|Pos:4
|Note|Dur:4th,Slur|Pos:3
|Bar
|Note|Dur:Whole|Pos:4
|Boundary|Style:Collapse
|Bar
|Boundary|Style:NewSystem|NewPage:N
|Rest|Dur:Whole
|Bar
|Rest|Dur:Whole
|Bar
|Rest|Dur:Whole
|AddStaff|Name:"Falsetti Ten. I"|Group:"Standard"
|StaffProperties|EndingBar:Section Close|Visible:Y|BoundaryTop:15|BoundaryBottom:15|Lines:5|WithNextStaff:Layer|Color:Default
|StaffProperties|Muted:N|Volume:127|StereoPan:64|Device:0|Channel:1
|StaffInstrument|Trans:0|DynVel:10,30,45,60,75,92,108,127
|User|BarCounter.nw|Pos:7|Class:StaffSig|AllBars:Y
|Clef|Type:Treble
|Text|Text:"F. Ten. I"|Font:User6|Scale:85|Pos:10|Color:1
|Key|Signature:F#,C#|Tonic:D
|TimeSig|Signature:Common
|Rest|Dur:Half
|Chord|Dur:Half,Slur|Pos:2^,4^|Opts:Stem=Up,Slur=Upward,Tie=Upward
|Bar|Style:MasterRepeatOpen
|Chord|Dur:Whole,Slur|Pos:2^,4|Opts:Tie=Upward
|Bar
|Chord|Dur:Whole|Pos:2,5
|Bar
|Marker|Pos:8
|Chord|Dur:Half,Slur|Pos:-1,4|Opts:Stem=Up,Slur=Upward
|Chord|Dur:Half,Slur|Pos:-2,5|Opts:Stem=Up,Slur=Upward
|Bar
|Marker|Pos:8
|Chord|Dur:Whole|Pos:-1,4
|Boundary|Style:Collapse
|Bar|SysBreak:Y
|Rest|Dur:Whole
|Bar
|Rest|Dur:Whole
|Bar
|Rest|Dur:Whole
|Bar
|Rest|Dur:Whole
|Bar|Style:MasterRepeatClose|SysBreak:Y
|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
|Rest|Dur:Whole
|Bar|SysBreak:Y
|Boundary|Style:EndCollapse
|Chord|Dur:Whole|Pos:2,4
|Bar
|Chord|Dur:Whole|Pos:n1,3
|Bar
|Chord|Dur:Whole|Pos:2,4
|AddStaff|Name:"Falsetti Ten. II"|Group:"Standard"
|StaffProperties|EndingBar:Section Close|Visible:Y|BoundaryTop:15|BoundaryBottom:15|Lines:5|WithNextStaff:ConnectBars|Color:Default
|StaffProperties|Muted:N|Volume:127|StereoPan:64|Device:0|Channel:2
|StaffInstrument|Trans:0|DynVel:10,30,45,60,75,92,108,127
|User|BarCounter.nw|Pos:7|Class:StaffSig|AllBars:Y
|Clef|Type:Treble
|Text|Text:"F. Ten. II"|Font:User6|Scale:85|Pos:-10|Color:1
|Key|Signature:F#,C#|Tonic:D
|TimeSig|Signature:Common
|Rest|Dur:Half
|Note|Dur:Half|Pos:-1^|Opts:Stem=Down,Tie=Downward
|Bar|Style:MasterRepeatOpen
|Note|Dur:Whole|Pos:-1
|Bar
|Note|Dur:Whole|Pos:0
|Bar
|Note|Dur:Whole|Pos:2^|Opts:XNoteSpace=1.5,Tie=Downward
|Bar
|Note|Dur:Whole|Pos:2
|Boundary|Style:Collapse
|Bar|SysBreak:Y
|Rest|Dur:Whole
|Bar
|Rest|Dur:Whole
|Bar
|Rest|Dur:Whole
|Bar
|Rest|Dur:Whole
|Bar|Style:MasterRepeatClose|SysBreak:Y
|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
|Rest|Dur:Whole
|Bar|SysBreak:Y
|Boundary|Style:EndCollapse
|Note|Dur:Whole|Pos:-1
|Bar
|Note|Dur:Whole|Pos:-2
|Bar
|Note|Dur:Whole|Pos:-1
|AddStaff|Name:"Staff-1"|Group:"Standard"
|StaffProperties|EndingBar:Section Close|Visible:Y|BoundaryTop:10|BoundaryBottom:10|Lines:5|WithNextStaff:ConnectBars,Layer|Color:Default
|StaffProperties|Muted:N|Volume:127|StereoPan:64|Device:0|Channel:3
|StaffInstrument|Trans:0|DynVel:10,30,45,60,75,92,108,127
|User|BarCounter.nw|Pos:7|Class:StaffSig|AllBars:Y
|Clef|Type:Bass
|Key|Signature:F#,C#|Tonic:D
|Text|Text:"Bar."|Font:User6|Scale:85|Pos:7|Color:1
|TimeSig|Signature:Common
|Rest|Dur:Half
|Note|Dur:Half|Pos:4^
|Bar|Style:MasterRepeatOpen
|Note|Dur:Whole|Pos:4^
|Bar
|Note|Dur:Whole|Pos:4
|Bar
|Note|Dur:Whole|Pos:0
|Bar
|Note|Dur:Whole|Pos:0
|Bar
|Note|Dur:Whole|Pos:4
|Bar
|Note|Dur:Half|Pos:#3|Opts:Stem=Up
|Note|Dur:Half|Pos:2|Opts:Stem=Up
|Bar
|Note|Dur:Whole|Pos:0
|Bar
|Note|Dur:Whole|Pos:0
|Bar|Style:MasterRepeatClose
|Note|Dur:8th|Pos:5|Opts:Stem=Up
|Note|Dur:4th|Pos:5|Opts:Stem=Up
|Note|Dur:8th|Pos:6|Opts:Stem=Up
|Note|Dur:8th|Pos:5|Opts:Stem=Up
|Note|Dur:8th|Pos:4|Opts:Stem=Up
|Note|Dur:4th|Pos:2|Opts:Stem=Up
|Bar
|Note|Dur:4th|Pos:4|Opts:Stem=Up
|Note|Dur:Half|Pos:2|Opts:Stem=Up
|Note|Dur:8th,Dotted|Pos:4|Opts:Stem=Up
|Note|Dur:16th|Pos:4|Opts:Stem=Up
|Bar
|Note|Dur:4th|Pos:5|Opts:Stem=Up
|Note|Dur:4th|Pos:7|Opts:Stem=Up
|Note|Dur:4th|Pos:6|Opts:Stem=Up
|Note|Dur:4th|Pos:5|Opts:Stem=Up
|Bar
|Note|Dur:4th|Pos:4|Opts:Stem=Up
|Note|Dur:Half|Pos:4|Opts:Stem=Up
|Note|Dur:4th|Pos:3|Opts:Stem=Up
|Bar
|Note|Dur:4th|Pos:4|Opts:Stem=Up
|Note|Dur:Half|Pos:5|Opts:Stem=Up
|Note|Dur:4th|Pos:n6|Opts:Stem=Up
|Bar
|Note|Dur:Half,Dotted|Pos:#6|Opts:Stem=Up
|Note|Dur:4th|Pos:5|Opts:Stem=Up
|Bar
|Note|Dur:4th|Pos:4|Opts:Stem=Up
|Note|Dur:4th|Pos:7|Opts:Stem=Up
|Note|Dur:4th|Pos:6|Opts:Stem=Up
|Note|Dur:4th|Pos:5|Opts:Stem=Up
|Bar
|Note|Dur:Whole|Pos:#4
|Bar
|Note|Dur:Whole|Pos:0
|Bar
|Note|Dur:Whole|Pos:0
|Bar
|Note|Dur:Whole|Pos:0
|AddStaff|Name:"Staff-2"|Group:"Standard"
|StaffProperties|EndingBar:Section Close|Visible:Y|BoundaryTop:10|BoundaryBottom:10|Lines:5|MultiPartDotPlacement:Y|Color:Default
|StaffProperties|Muted:N|Volume:127|StereoPan:64|Device:0|Channel:4
|StaffInstrument|Trans:0|DynVel:10,30,45,60,75,92,108,127
|User|BarCounter.nw|Pos:7|Class:StaffSig|AllBars:Y
|Clef|Type:Bass
|Key|Signature:F#,C#|Tonic:D
|Text|Text:"Bassi"|Font:User6|Scale:85|Pos:-10|Color:1
|TimeSig|Signature:Common
|Rest|Dur:Half
|Note|Dur:Half|Pos:0^|Opts:Tie=Downward
|Bar|Style:MasterRepeatOpen
|Note|Dur:Whole|Pos:0^|Opts:Tie=Downward
|Bar
|Note|Dur:Whole|Pos:0|Opts:Tie=Downward
|Bar
|Note|Dur:Half|Pos:-1|Opts:Stem=Down,XNoteSpace=1.5
|Note|Dur:Half|Pos:-2|Opts:Stem=Down
|Bar
|Note|Dur:Whole|Pos:0|Opts:XNoteSpace=1.5
|Bar
|Note|Dur:Whole|Pos:0
|Bar
|Note|Dur:Half|Pos:0|Opts:Stem=Down
|Note|Dur:Half|Pos:-2|Opts:Stem=Down
|Bar
|Note|Dur:Half|Pos:-3|Opts:Stem=Down
|Note|Dur:Half|Pos:-4|Opts:Stem=Down
|Bar
|Chord|Dur:Whole|Pos:-7,-3
|Bar|Style:MasterRepeatClose
|Note|Dur:8th|Pos:5|Opts:Stem=Down
|Note|Dur:4th|Pos:5|Opts:Stem=Down
|Note|Dur:8th|Pos:6|Opts:Stem=Down
|Note|Dur:8th|Pos:5|Opts:Stem=Down
|Note|Dur:8th|Pos:4|Opts:Stem=Down
|Note|Dur:4th|Pos:2|Opts:Stem=Down
|Bar
|Note|Dur:4th|Pos:4|Opts:Stem=Down
|Note|Dur:Half|Pos:2|Opts:Stem=Down
|Note|Dur:8th,Dotted|Pos:4|Opts:Stem=Down,XDotSpace=0.5
|Note|Dur:16th|Pos:4|Opts:Stem=Down
|Bar
|Note|Dur:4th|Pos:5|Opts:Stem=Down
|Note|Dur:4th|Pos:7|Opts:Stem=Down
|Note|Dur:4th|Pos:6|Opts:Stem=Down
|Note|Dur:4th|Pos:5|Opts:Stem=Down
|Bar
|Note|Dur:4th|Pos:4
|Note|Dur:Half|Pos:2
|Note|Dur:4th|Pos:1
|Bar
|Note|Dur:Half,Dotted|Pos:0
|Note|Dur:4th|Pos:0
|Bar
|Note|Dur:Half,Dotted|Pos:0
|Note|Dur:4th|Pos:0
|Bar
|Chord|Dur:Half,Dotted|Pos:-3,4|Opts:XNoteSpace=1
|Chord|Dur:4th|Pos:-4,3|Opts:Stem=Down
|Bar
|Chord|Dur:Whole|Pos:-5,2
|Bar
|Note|Dur:Whole|Pos:0
|Bar
|Note|Dur:Whole|Pos:0
|Bar
|Note|Dur:Whole|Pos:0
!NoteWorthyComposer-End

If you look at the barline at the start of bar 18 in the two "Falsetti Ten." parts you'll see I've moved the Boundary End Collapse to AFTER the barline instead of in front of it where you had it placed.
By having it before the barline the "End Collapse" was part of the system you were trying to collapse so it was ending the collapse for that whole system.  Moving it to after that barline fixes this problem.

N.B. if the system break moves, then this may stop doing what you want.  In this particular case there is a specific system break in the top staff that forces bar 18 to be a new system thus making the correct position for the "End Collapse" AFTER that barline.
205
General Discussion / Re: Back up question amid heartbreak
Hi SEBC,
very happy to hear of your success in recovering your file!

As for how I handle the changes your refer to in the workflow comment, in the rare case I need something quite different between the full score and the parts I have just 2 files.  One is the full score and optimised for that function, and the other is for creating parts., with all the fiddling that entails.

But the real key is the creation of PDFs.  Once the PDF is created for a part, it is almost never necessary to return to the NWC file for that part again, just reprint the PDF as required.  In the event that changes are needed for a part, then you'd be doing all that fiddling again anyway.

As for isolating spacing requirements, system breaks, page breaks etc. I just do that for each part's staff as required.  Considering this staff will never be visible when working on any other part it doesn't have any effect on other parts.  I also have a number of elements that have visibility set to "Top Staff Only".

For all elements that are common between staves I have a staff that gets layered with every part to be printed and it gets the common elements.  Things like lyrics, chord markings*, tempo marks and variances, style changes and so on.  This way I don't have to edit these elements for every part.

* In the case of chord markings I might have several versions of this staff, one for each key of instrument in the mix: Bb, Eb, F, Concert etc.  Though when I'm working with many keys of instrument it is unlikely they'll need either lyrics or chord markings.

It isn't a perfect solution perhaps, but it works for me, and I pretty much never need to mess with multiple files.
 
206
General Discussion / Re: Back up question amid heartbreak
My workflow is obviously different to yours.  The way I do parts is to hide the staves that aren't relevant to the part I want to save, then print that part to a PDF, I do NOT create a separate NWC file for each part.

The staff belonging to the part to be printed is always the TOP staff in the case where there may be related/layered staves.  This way any page system or page breaks can be made to the staff and will only be in effect when that parts staff is at the top.
When working on the whole work I have a top staff on which everything is hidden and it is layered with the next staff.  This way system and page breaks relevant to the conductors/full score can be made and they do not affect parts prints.
207
General Discussion / Re: Back up question amid heartbreak
Ouch!

The only thing I can suggest is to look at | Tools | Options | Folders and check the locations of:
Backup Files:
and
Auto Save/Recovery:

FWIW my Backup Files location appears to be OK, but the Auto Save/Recovery location is empty...  Not sure I'm very happy about that :(
208
General Discussion / Re: MultiMeasure Rests
I've not found a way to do it directly, but some manipulation can be done by using system breaks.  Note that spacers before and/or after will change the length of the multibar rest but NOT the actual printed symbol within it.

<wait a bit...>
Right, thinking about it, a layered staff containing only rests moved "off the page" and everything else hidden will work.  N.B. the rests MUST be visible, but using Global_Mod they can be moved off the page so they don't print.

<wait a bit more...>
OK, just did a test: A layered staff containing only rests but with everything hidden, including the rests, can also be used, and with more control.  On the hidden staff you add spacers in one of the bars that correspond with the multibar rest you want to modify.  This can be used to fairly finely control the length of the multibar rest.

Code: (nwc) [Select · Download]
!NoteWorthyComposer(2.751)
|Editor|ActiveStaff:1|CaretIndex:1|CaretPos:0
|SongInfo|Title:""|Author:"<Name>"|Lyricist:""|Copyright1:"Copyright © 2022 <Name>"|Copyright2:"All Rights Reserved"
|PgSetup|StaffSize:16|Zoom:4|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|WithNextStaff:Layer|Color:Default
|StaffProperties|Muted:N|Volume:127|StereoPan:64|Device:0|Channel:1
|StaffInstrument|Trans:0|DynVel:10,30,45,60,75,92,108,127
|Clef|Type:Treble
|Key|Signature:C|Tonic:C
|TimeSig|Signature:4/4
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Bar
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Bar
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Bar
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Bar|SysBreak:Y
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Bar
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Bar
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Bar
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Bar|SysBreak:Y
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Bar
|RestMultiBar|NumBars:6|PrintOnce:N|WhenHidden:ShowBars,ShowRests
|Bar
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Bar|SysBreak:Y
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Bar
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Bar
|RestMultiBar|NumBars:2|PrintOnce:N|WhenHidden:ShowBars,ShowRests
|Bar|SysBreak:Y
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Bar
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Bar
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Bar
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Bar|SysBreak:Y
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Bar
|RestMultiBar|NumBars:3|PrintOnce:N|WhenHidden:ShowBars,ShowRests
|Bar
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Bar
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Bar|Style:SectionClose|SysBreak:Y
|AddStaff|Name:"Staff-1"|Group:"Standard"
|StaffProperties|EndingBar:Section Close|Visible:Y|BoundaryTop:10|BoundaryBottom:10|Lines:5|Color:Default
|StaffProperties|Muted:N|Volume:127|StereoPan:64|Device:0|Channel:2
|StaffInstrument|Trans:0|DynVel:10,30,45,60,75,92,108,127
|Clef|Type:Treble|Visibility:Never
|Key|Signature:C|Tonic:C|Visibility:Never
|TimeSig|Signature:4/4|Visibility:Never
|Rest|Dur:Whole|Visibility:Never
|Bar|Visibility:Never
|Rest|Dur:Whole|Visibility:Never
|Bar|Visibility:Never
|Rest|Dur:Whole|Visibility:Never
|Bar|Visibility:Never
|Rest|Dur:Whole|Visibility:Never
|Bar|Visibility:Never
|Rest|Dur:Whole|Visibility:Never
|Bar|Visibility:Never
|Rest|Dur:Whole|Visibility:Never
|Bar|Visibility:Never
|Rest|Dur:Whole|Visibility:Never
|Bar|Visibility:Never
|Rest|Dur:Whole|Visibility:Never
|Bar|Visibility:Never
|Rest|Dur:Whole|Visibility:Never
|Bar|Visibility:Never
|Rest|Dur:Whole|Visibility:Never
|Bar|Visibility:Never
|Rest|Dur:Whole|Visibility:Never
|Bar|Visibility:Never
|Rest|Dur:Whole|Visibility:Never
|Bar|Visibility:Never
|Spacer|Width:3700
|Rest|Dur:Whole|Visibility:Never
|Bar|Visibility:Never
|Rest|Dur:Whole|Visibility:Never
|Bar|Visibility:Never
|Rest|Dur:Whole|Visibility:Never
|Bar|Visibility:Never
|Rest|Dur:Whole|Visibility:Never
|Bar|Visibility:Never
|Rest|Dur:Whole|Visibility:Never
|Bar|Visibility:Never
|Rest|Dur:Whole|Visibility:Never
|Bar|Visibility:Never
|Rest|Dur:Whole|Visibility:Never
|Bar|Visibility:Never
|Rest|Dur:Whole|Visibility:Never
|Bar|Visibility:Never
|Rest|Dur:Whole|Visibility:Never
|Bar|Visibility:Never
|Rest|Dur:Whole|Visibility:Never
|Bar|Visibility:Never
|Rest|Dur:Whole|Visibility:Never
|Bar|Visibility:Never
|Rest|Dur:Whole|Visibility:Never
|Bar|Visibility:Never
|Rest|Dur:Whole|Visibility:Never
|Bar|Visibility:Never
|Rest|Dur:Whole|Visibility:Never
|Bar|Visibility:Never
|Rest|Dur:Whole|Visibility:Never
|Bar|Visibility:Never
|Rest|Dur:Whole|Visibility:Never
|Bar|Visibility:Never
|Rest|Dur:Whole|Visibility:Never
|Bar|Visibility:Never
|Rest|Dur:Whole|Visibility:Never
!NoteWorthyComposer-End

Not the "single staff" solution you asked about but an effective compromise I think.
209
General Discussion / Re: PageTextMaestro and PageText.
Hi David, been a while since we chatted. 

I know of no particularly user-friendly resource, but I use them all the time.  Though I don't necessarily use all the features.  I primarily use it for a kind of header in the page number location which includes:
Song Title
Part Name (from the Staff Label)
Version number
Key
Page number of /? pages

The latter 3 I populate (or partially populate) from the Comments section of the Authoring Info dialogue.

The PageTxt command I generally use for this function is:
%Title% - in %Comment,Key% %Comment,Ver% - %StaffLabel% - Page %PageNum,1%%Comment,TotalPages%
and will result in something like:
Song Name - in C - V1 - Trom - Page 1/3
at the top of each page.  The page number automatically updates to match the page it's on.  The total pages number is manually input into the Comments once I get the piece almost finished, until the entry shows a "?".

This text appears on every page of a part so the pages can be identified and kept together.

I also occasionally use it for sub-titles and my template includes:
SubTitle
SubTitle2
entries in the Comments section

Do you have any specific questions?
210
General Discussion / Re: Fixing Flow
There's probably a better way to do this, but this one works:
Code: (nwc) [Select · Download]
!NoteWorthyComposerClip(2.751,Single)
|Clef|Type:Treble
|Key|Signature:C|Tonic:C
|TimeSig|Signature:2/4
|Text|Text:"Intro"|Font:StaffItalic|Pos:11
|Note|Dur:4th|Pos:-2
|Note|Dur:4th|Pos:-2
|Bar|Style:MasterRepeatOpen
|Text|Text:"V1,2&3"|Font:StaffItalic|Pos:11
|Note|Dur:4th|Pos:-2
|Note|Dur:4th|Pos:1
|Bar
|Note|Dur:4th|Pos:1
|Note|Dur:4th|Pos:-2
|Bar
|Note|Dur:4th|Pos:1
|Note|Dur:4th|Pos:3
|Bar
|Note|Dur:Half|Pos:1
|Ending|Endings:1|Visibility:Never
|Bar|Style:MasterRepeatClose
|Text|Text:"C2+3start"|Font:StaffItalic|Pos:9
|Note|Dur:8th|Pos:3
|Note|Dur:8th|Pos:1
|Note|Dur:8th|Pos:-2
|Note|Dur:8th|Pos:1
|Bar
|Ending|Endings:2
|Text|Text:"C2 end"|Font:StaffItalic|Pos:9
|Note|Dur:8th|Pos:1
|Note|Dur:8th|Pos:-2
|Note|Dur:4th|Pos:1
|Bar|Style:MasterRepeatClose
|Ending|Endings:3
|Text|Text:"C3 end"|Font:StaffItalic|Pos:9
|Note|Dur:8th|Pos:-2
|Note|Dur:8th|Pos:1
|Note|Dur:4th|Pos:-2
|Bar|Style:Double
|Key|Signature:F#,C#|Tonic:D
|Text|Text:"V4"|Font:StaffItalic|Pos:9
|Note|Dur:4th|Pos:-1
|Note|Dur:4th|Pos:2
|Bar
|Note|Dur:4th|Pos:4
|Note|Dur:4th|Pos:-1
|Bar
|Note|Dur:Half|Pos:2
|Bar|Style:Double
|Text|Text:"C4"|Font:StaffItalic|Pos:9
|Note|Dur:8th|Pos:4
|Note|Dur:8th|Pos:2
|Note|Dur:8th|Pos:-1
|Note|Dur:8th|Pos:2
|Bar
|Note|Dur:8th|Pos:-3
|Note|Dur:8th|Pos:-1
|Note|Dur:4th|Pos:2
!NoteWorthyComposerClip-End
211
General Discussion / Re: Fixing Flow
Quote from: SEBC –
Thanks Lawrie,

Not quite there yet. I need vs 2 and 3 to repeat, and chorus 2 and 3 have different endings. See attached score with written descriptions.
OK, just to clarify:
Flow should be:
Intro, V1, V2*, C2, V3*, C3, KeyChange, V4, C4

Where V1, 2 and 3 are the same tune,
C1 does not exist,
C2 and C3 are similar but with different endings,
after C3 do a key change and then do V4 and C4

It's 2:15 AM here at the moment - will follow up tomorrow arvo...
212
General Discussion / Re: Fixing Flow
Hi SEBC,
not sure which is closest to what you want, so here's 2 possibilities.  By the way, if you wait long enough yours does work, you just get 4 times through instead of the 3 I think you're expecting.
THIS
Code: (nwc) [Select · Download]
!NoteWorthyComposerClip(2.751,Single)
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Bar|Style:MasterRepeatOpen
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Bar|Style:Double
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Bar
|Ending|Endings:1,2
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Bar|Style:MasterRepeatClose
|Ending|Endings:3
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Bar
|Note|Dur:4th|Pos:1
|Note|Dur:4th|Pos:1
!NoteWorthyComposerClip-End
OR THIS
Code: (nwc) [Select · Download]
!NoteWorthyComposerClip(2.751,Single)
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Bar|Style:MasterRepeatOpen
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Bar|Style:Double
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Bar
|Ending|Endings:1
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Bar|Style:MasterRepeatClose
|Ending|Endings:2
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Bar|Style:MasterRepeatClose
|Ending|Endings:3
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Bar
|Note|Dur:4th|Pos:1
|Note|Dur:4th|Pos:1
!NoteWorthyComposerClip-End
214
General Discussion / Re: changing the key
Quote from: Mike Shawaluk –
While I realize this requirement is in place, and sort of understand the reasoning behind it, I very much hope if/when there is a new version of NWC, that the transpose function can be changed to assume there is a C key signature present if it doesn't find one. I wouldn't think it would be that hard to do this.

Now, if there isn't even a clef present, then all bets are off.
Hi Mike, at first blush this seems eminently sensible, but then I remembered that there are works that are deliberately without a key signature*.  If a transposition of such a work was required, it would need to remain keyless yet still be transposed (using accidentals as required).  NWC seems to handle this just right as it stands.

* IIRC writing for natural Horn was traditionally done this way, so called "Old Notation".  Though I'm not sure they used accidentals in the writing...  There's lots of confusing practices (traditions?) in early Horn writing :(  I don't even know whether they were written as transposing instruments or concert pitch instruments or what.  :o  
Horn in F, sure, just make sure the right crook is in; need to change to Horn in C# 'cos you need notes in that harmonic series, no worries, just change the crook...  I bet horn players are really, really happy valves were invented and they're now written as transposing instruments with an actual key signature!  :))  :))

<edit> Just did a little reading...  From the examples I found it seems that crooks were chosen/specified so that the horn was always written without a key signature.  E.G. key is F, choose the F crook, key change to D, change to the D crook, music still has no key signature BUT the notation was relative to the crook, so was actually transposed from concert to match the crook.  F crook?  write down a 4th but play up the octave ????  (these days the transposition would be UP a 5th - go figure), change to D crook, change the writing to down a 7th but play up the octave - no wonder Horn is considered hard, quite apart from how hard the damn things are to pitch :o </edit>

As for the clef, as I'm sure you're aware, NWC assumes a treble clef if none is present.  This seems like a reasonable approach to me.
215
General Discussion / Re: changing the key
Transposing Instruments:

What are transposing instruments and why do we care?

Transposing instruments are instruments whose music is written (usually in treble clef) with respect to the native pitch of the instrument rather than concert pitch. 
OK, what does that mean?

Let's take a trumpet for an example:
Now, 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.  Bear with me, this will make sense soon.

Trumpets normally have 3 valves.  When played, the combination of which valves are pressed (operated) and the players embouchure control what pitch a note sounds.
If there are no valves operated and the player "blows" the lowest note they can (ignoring pedals which are a special case) then that note is considered, and written as, middle C on a treble staff.

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.  This means that with correctly written (and transposed) music the player can pick up their trumpet and play from the music and not have to think about using different valve and embouchure combinations to play the correct pitch.

If playing written (transposed) middle C
A Bb trumpet will sound a concert pitch Bb below concert middle C
An A trumpet will sound a concert pitch A below concert middle C
A C trumpet will sound a concert pitch C (this one happens to be in concert pitch)
A D trumpet will sound a concert pitch D above concert middle C
An Eb trumpet will sound a concert pitch Eb above concert middle C

As I hope you can appreciate this makes things a lot easier for the musician if they need to move from one trumpet to another.  It even helps if moving from one brass instrument to another*.

Pretty much the same thing applies to all other transposing instruments, but lets take another example: The Saxophone. 

Saxophones commonly come in 4 varieties (again, there are exceptions):
Soprano (Bb)
Alto (Eb)
Tenor (Bb)
Baritone (Eb)

By having transposed music for each instrument the player can move to any of them without having to know multiple fingering in order to play the correct pitch. 

In fact, without this transposition they would most likely be written in different clefs as well making moving around from instrument to instrument even harder. 

Think violinist playing viola, suddenly they have to read alto clef instead of treble clef, not to mention that the strings are different pitches too.  If they go to 'Cello then they need to read bass clef as well.  I believe it was to overcome the difficulties this brings that the idea of transposing instruments first came about.

=========
In order to correctly transpose music for a transposing instrument you need to know the key of the instrument AND whether it sounds above or below the concert pitch note.

E.G. the Bb trumpet mentioned earlier sounds below the concert pitch of the written note.  So, in order to get the sounding note the correct pitch the music must be written 2 semitones HIGHER than concert pitch (Bb is 2 semitones LOWER than C so the written music must compensate for this).

If the music was being written for an alto saxophone then it must be written 9 semitones higher than concert pitch because an alto saxophone playing its' C actually sounds the concert Eb BELOW C.  The distance between Eb to the C above it is 9 semitones, so to sound a middle C the alto sax music must be written as a second space A (9 semitones)

For Horn in F the difference is 7 semitones, and so on for other transposing instruments.  Note however that Horn is a somewhat different beast...  If you are going to write for horn, talk to a horn player!

For Baritone sax, the difference is a whopping 21 semitones!

* In a British tradition brass band ALL the instruments (excluding bass trombone) are written in transposed treble clef, including tenor trombones and tuba's (usually called basses)

Soprano cornet - in Eb - is written 3 semitones down from concert pitch
Cornet and Flugel Horn - in Bb - is written 2 semitones up from concert pitch
Tenor horn (more properly it should be called an alto horn) - in Eb - is written 9 semitones up
Euphonium, Baritone and Tenor Trombone** - in Bb - is written 14 semitones up
Eb Tuba - in Eb - is written 21 semitones up
Bb Tuba - in Bb - is written 26 semitones up

** outside of British tradition brass bands Tenor trombones are normally considered a concert pitch instrument and written in bass clef.  Historically they have also been written in concert pitch Tenor clef which uses the same note positions*** on the staff as transposed treble for Bb instruments but have a key signature with 2 extra flats (or 2 less sharps).

*** A tenor clef middle C is on the 4th line of the staff and is played in 3rd position on the slide.  If you have a transposed treble clef part for a trombone then that concert middle C is now called a D and is still on the 4th line of the (now treble) staff and still played in 3rd position on the slide.

I hope this has been more helpful than confusing.
216
General Discussion / Re: changing the key
Quote from: FrankSit –
I did not find the button for attaching the file, except if I start with the new email. Attached is the scores that I want to increase the tone by 2 sharp, my friend suggested. I though I can just plug 2 sharp.

Thanks for any idea
Before we start, I apologise for the length of this post, but I'm more interested in helping you understand the "why" instead of just the "how".

Ok then, this is called "Transposition".  It is about changing the key a song is written in.

There are 3 primary reasons for wanting to transpose a song, or parts of a song.
  • You need to accommodate an instrument that is not written in concert pitch. 
    Piano, or violin, or oboe or tuned percussion etc. are concert pitch instruments. 
    Saxophone, or clarinet, or trumpet, or french horn, or cor anglais etc. are not.  These latter need to have their parts written in a different key so that they sound the same pitch as a concert pitch instrument.

  • The key a song is written in puts the notes outside the comfortable range of the singer(s).  Transposing the song can put it into an acceptable range.

  • A song that is the same key throughout can sometimes become, dare I say it, a little boring.  A modulation (transposition) to another key partway through so the latter part is in a different key to the earlier part can add interest and excitement.

The song you have shown is written in concert pitch (SATB scores are always in concert pitch).  Your friend wants you to transpose the score up by 2 semitones*, taking it from the key of C (no sharps or flats) to the key of D (2 sharps).  It could also be the relative minors E.G. from Am to Bm but I don't want to complicate things unnecessarily.  The same explanation applies anyway.

* While it isn't stated, this is probably for reason 2 above.

If you are in the key of C (as in this case), then every note in the song is related back to the root note which is C.  If you want to transpose to D (2 sharps) then you MUST retain these relationships to the new root note (D) for the song to sound the same, but a tone higher. 
<edit> It is not sufficient to simply change the key signature, the notes must be changed as well.

So:
Starting notebecomes
CD
C#D#
DE
D#F
EF#
FG
GA
G#A#
AB
A#C
BC#
or the enharmonic flats (E.G. A#=Bb, D#=Eb etc.)

NWC gives you a tool to do this.  It is called "Transpose Staff" and is accessible from the |Tools| menu. 
The keyboard shortcut is: <Alt+T><T>

IMPORTANT IMPORTANT IMPORTANT:
If the part or song is in C (or Am) then you MUST have a C key signature in place for this to work properly.  If you are in any other key then you will already have an appropriate key signature in place.

To place a C key signature press <K><C><Enter> and you will see a natural sign appear on the F line of the staff.  This sign is hidden so will not show up in a print out, but it is absolutely necessary for the transposition function to work.  Do this for each staff that is in C.

To use it; make the staff to be transposed active then press <Alt+T><T> and you will get a dialogue box that allows you to specify:
How many semitones to transpose (up or down [-])
Whether or not to transpose the staff playback transposition **
Specify how you want the new key to look (minimise sharps/flats, prefer flats to sharps or prefer sharps to flats)

To change your example song:
First I assume you already have it entered into NWC, with C key signatures in place.
  • Select the top staff; press <Alt+T><T>;
  • Change the semitones to "2" (positive, not negative);
  • UNcheck the playback transposition (we're changing the key of the song, not accommodating a transposing instrument);
  • Select Minimise Sharp/Flat count in key;
  • Press <Enter> or click OK

Repeat for every staff, including hidden ones.  NB.  NWC will remember, until you exit, the selections you have made so for each subsequent staff you can just press:
<Alt+T><T><Enter>

** This option is important.  Use it if you are transposing a staff for a non-concert pitch instrument, like trumpet.  HOWEVER, if you are transposing to move the song to a new key (as in the case of this example) then you need this to be unchecked. 
The reason for this is the "playback transposition", if active, will play the song back in the original key, despite the new written key.  This is important for transposing instrument staves/parts to sound right with the rest of the parts.

NWC has some limitations in the transposition tool:
  • It cannot transpose part of a staff, it is all or nothing
  • It cannot transpose the whole song in one go, you must do each staff individually
  • A staff to be transposed MUST have a key signature (refer to the RED warning above)
  • It does not transpose text entries for chord - there is a user tool for this (Transpose Chords (ADP) )
  • The ChordPlay.nw object does respond to staff transposition, but this is a function of how ChordPlay works

See my next post for a short (very short) discussion on transposing instruments.
217
General Discussion / Re: BarCounter numbers size
The font used by the BarCounter user object is the same as used by NWC for native bar numbers: Staff Bold.

To adjust, go into the Page Setup dialogue, select the Fonts tab, double click on Staff Bold and change as required.

This will also impact everything else that uses Staff Bold, like Tempo markings, Instrument changes, MPC labels and Text entries that use this font plus whatever I haven't remembered.
218
General Discussion / Re: reinstalling NWC
Check this location on your current C drive:
(for 32 bit Windows): C:\Program Files\Noteworthy Software\NoteWorthy Composer 2\Setups
(or, for 64 bit Windows): C:\Program Files (x86)\Noteworthy Software\NoteWorthy Composer 2\Setups

You will find a setup program for your current installed copy of NWC.  Just copy it to a USB drive or similar and run it on the new machine.

Also, I have a feeling that these days Windows has a migration process you could use that might make this step un-necessary.
219
General Discussion / Re: not loud enough
Hey H.M.
Thanks bro ;)

Shame the tempo marking didn't help  :(

Wonder if this unexpected MIDI export quirk should be called a bug or a design flaw...
220
General Discussion / Re: not loud enough
Quote from: hmmueller –
<snip>
So a workaround is putting in a leading full rest and make it invisible. If you don't want to wait for all of it when playing, you could put an invisible tempo of quarter=750 (Noteworthy's maximum tempo) before the rest; and then of course a tempo marker for your intended tempo after the rest.
H.M.
Hi H.M.
I was just looking at your examples and it got me to wondering...
In the "FranksO.nwc" version there is no tempo setting, thus it runs at the NWC default of 120bpm which of course must end up in the MIDI stream.  So, what happens to the MIDI stream if you actually put a tempo marking in?  Maybe prior to, say, the time signature?
Do you still need a rest to get the "O" to show in vanBasco?  (do ya like the rhyming?  :))  )

BTW, what MIDI to Text tool are you using?
221
General Discussion / Re: not loud enough
Quote from: FrankSit –
Thank you  HM, I got it right. It is good in highlighting the text, but my choir members they do not have the player in their computer nor cellphone. Can it work?, or I screen record it on my computer then I posting the the video to my youtube channel and they can watch it from my youtube? in their Cell phone?
If you screen record the vanBasco session I suspect you'll be back to the original problem of not enough volume on Youtube...

vanBasco will only really work if your people have the player available to them.  If you are going to have to work around its availability then I think you'd be better off trying to resolve the volume problem instead.

Don't get me wrong, I actually a fan pf vanBasco, but I'm not sure it's the right solution in this context.

Of course, there are Karaoke apps for both iPhone and Android that display lyrics so exporting to MIDI is still viable.  FYI a karaoke file is just a MIDI file that contains lyrics.  Sometimes they will have a .mid extension, sometimes they will have a .kar extension.
222
General Discussion / Re: Arrow between two staves
Quote from: Flurmy –
Yes, you're right, it's not ASCII, it's Unicode with code 8594.
I'll leave to Lawrie to explain how he inserted it. Searching it with the NWC "Char map..." requires a patience I haven't... ;)
I'd rather use the "Char map" program from Windows, selecting "Character set: Unicode", "Group by: subcategory Unicode", "Arrows".
A posteriori, you can always keep <alt> pressed and type in the numeric pad "08594"...
Ahh, I appear to have answered the wrong question...  :P

Flurmy is quite correct, I found the character using the Windows Char Map application, copied it to the clipboard, and pasted it into the markup.rg properties dialogue.  The other characters that constitute the extended line come from the same general area of the font and were inserted in the same way.  I only used Times New Roman as the font because it is the default when creating a new file in NWC, and it happened to have suitable characters to test with.
223
General Discussion / Re: Arrow between two staves
Quote from: lawrroc –
Good morning to you. I studied markup.rg, within the limits of my computer skills, which are immense. I ask what character is the last of the series: it would seem a high point, but in the ASCII characters I have not found it. This is what the arrowhead shows in this case.

I assume you're referring to the very first example I gave you.  The markup.rg command is:
/h1/f1/a-70CCCC

Let's break it down:
  • /h1 is a directive to move the starting point of the markup, in this case the starting point of the first character,  one note space to the right
  • /f1 is a directive to use the FIRST font available.  To get some idea of what fonts are available go to the text entry dialogue <X> and run through what's in the "Display Font:" box.
    You will see the following:
    Staff Symbols...
    Staff Cue Symbols...
    Staff Italic...
    Staff Bold...
    Staff Lyric...
    Page Text...
    Page Title Text...
    Page Small Text...
    User 1...
    User 2...
    User 3...
    User 4...
    User 5...
    User 6...

    These are recognised in numerical order with Staff Symbols... as "1" and User 6... as "14"
  • /a-70 is a directive to angle the text downwards to the right at 70 deg from the horizontal
  • CCCC is the text to be displayed.  The box on the end is because the character is non-printable in your browser.

The characters in the last part of the markup are:
  • 4* "C"s - The "C" is the character that is used in the NWC System Symbol font for a Tenuto "_"
  • The "" is actually a rendition of the character used in the NWC System Symbol font for an Accent ">" - N.B. it is NOT the GreaterThan sign I used do demonstrate it here.  You can select and copy it from a text entry dialogue and paste it into the "markup.rg" properties dialogue
224
General Discussion / Re: Arrow between two staves
First a caveat.  This process is obscure and not very portable, but with a fair bit of effort it can be made to work.  If we are to see an easier (and better) result then either a new, purpose written object is required, OR, perhaps Linespan.nw could be modified to allow for angling the line.

Quote from: Opagust –
What's that last character of your markup and how did you create it?
It's just the accent from the same font as the lines - the system font.  I selected it by opening the text dialogue, selecting "Staff Symbols" as the Display Font and using the Char Map to find something I could use as an arrow head on the end of the line, which comes from characters in the same font.
Once it was in the text entry box I copied it to the clipboard and pasted it into the objects properties dialogue.

I'm sure there are better ways, maybe find a different font that has both a well formed arrow and a line that can be connected with it more seamlessly.  E.G. WebDings3 has lots of arrows, but no lines that might be added to them to extend them.

<wait a few...>

Right, Times New Roman has lines and arrows that might be able to be connected, but the arrowheads are small so enlarging the font size would help...

<wait a few more...>

OK, just tried it - I used the Windows Character map instead of the built-in NWC one to find the characters.  They're pretty far down the font...  The lines don't connect perfectly to the arrow shaft, but they're "near enough for jazz" ;)

This example has the previous long arrow but moved to the left, a new arrow with a small font size (also a little to the left), and a new arrow in the original position but using a larger font size for comparison.
Code: (nwc) [Select · Download]
!NoteWorthyComposer(2.751)
|Editor|ActiveStaff:1|CaretIndex:3|CaretPos:-7
|SongInfo|Title:""|Author:"<Name>"|Lyricist:""|Copyright1:"Copyright © 2022 <Name>"|Copyright2:"All Rights Reserved"
|PgSetup|StaffSize:16|Zoom:4|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:1
|Font|Style:User2|Typeface:"Times New Roman"|Size:16|Bold:N|Italic:N|CharSet:1
|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-2"|Group:"Standard"
|StaffProperties|EndingBar:Section Close|Visible:Y|BoundaryTop:10|BoundaryBottom:10|Lines:5|WithNextStaff:ConnectBars|Color:Default
|StaffProperties|Muted:N|Volume:127|StereoPan:64|Device:0|Channel:3
|StaffInstrument|Trans:0|DynVel:10,30,45,60,75,92,108,127
|Note|Dur:16th|Pos:-2|Opts:Stem=Down
|Note|Dur:16th|Pos:-2|Opts:Stem=Down
|User|Markup.rg|Pos:-7|Markup:/h1/f1/a-70CCCC
|Note|Dur:16th|Pos:-1|Opts:Stem=Down
|User|Markup.rg|Pos:-7.5|Markup:/h0.5/f4/a-70——→
|Note|Dur:16th|Pos:0|Opts:Stem=Down
|User|Markup.rg|Pos:-7|Markup:/h0.5/f10/a-70–→
|Rest|Dur:8th|Visibility:Never
|Boundary|Style:Collapse
|Bar
|Rest|Dur:Half,Dotted|Visibility:Never
|AddStaff|Name:"Staff-3"|Group:"Standard"
|StaffProperties|EndingBar:Section Close|Visible:Y|BoundaryTop:10|BoundaryBottom:10|Lines:5|Color:Default
|StaffProperties|Muted:N|Volume:127|StereoPan:64|Device:0|Channel:4
|StaffInstrument|Trans:0|DynVel:10,30,45,60,75,92,108,127
|Rest|Dur:4th|Visibility:Never
|Boundary|Style:EndCollapse
|Spacer|Width:300
|Note|Dur:8th|Pos:0
|Bar
|TimeSig|Signature:3/4
|Spacer|Width:250
|Note|Dur:8th|Pos:1
|Note|Dur:16th|Pos:1
!NoteWorthyComposer-End
225
General Discussion / Re: Arrow between two staves
Quote from: lawrroc –
Many thanks, Lawrie. I've already applied your template to my score, but understanding the syntax is another story. I'll try!
Good evening / night.
Lorenzo
Yeah, Rick's syntax for this isn't fun, but if you read the thread I linked to, it appears he never expected anyone but himself to actually use it.  Silly boy, it's there so of course some of us will 'ave a go :D
226
General Discussion / Re: quarter note's rest out side of the staff
Quote from: Francis Beaumier –
<snip> Truth be told, <snip>
We-elll, if we're telling the truth now...  :))  :))  :))  :))
Seriously though, while I was taught crotchets and quavers* etc. I tend to use examples from both nomenclatures.  E.G. it just seems to sit better to say "straight 8th's" or "swung 8th's" than it does to say "straight quavers" or "swung quavers" even though both mean exactly the same thing.   However, that said, my default setting is crotchets etc. as that is how I was taught as a child and I see no advantage is changing ;)

* I'm an Aussie, it's what we have traditionally used though with the increasing effect of US culture on the rest of the world common usage is changing here too.  Especially in the jazz world.

Quote from: Francis Beaumier –
<snip> Does Elaine Gould have a different name for them?? ;-)  <snip>
Dunno, don't care... ;)
Actually, I just looked up an excerpt online and it appears she uses "quavers" etc...  Does this mean she's a Brit?
227
General Discussion / Re: Arrow between two staves
Hi Lawrroc,
A massive contributor to these forums, RickG, who has sadly passed away has left us with a huge legacy, part of which is a user object that uses an obscure syntax called "Markup.rg".  Big thanks to hmmueller for his work in deciphering the syntax:
https://forum.noteworthycomposer.com/?topic=9083.msg72513#msg72513

I have used it to create this quick and dirty example.  It isn't exactly what you're looking for and will undoubtedly need tweaking, the angle works in the editor but not so much in print preview, but perhaps it's a start:
Code: (nwc) [Select · Download]
!NoteWorthyComposer(2.751)
|Editor|ActiveStaff:2|CaretIndex:10|CaretPos:-88
|SongInfo|Title:""|Author:"<Name>"|Lyricist:""|Copyright1:"Copyright © 2022 <Name>"|Copyright2:"All Rights Reserved"
|PgSetup|StaffSize:16|Zoom:4|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|WithNextStaff:ConnectBars|Color:Default
|StaffProperties|Muted:N|Volume:127|StereoPan:64|Device:0|Channel:1
|StaffInstrument|Trans:0|DynVel:10,30,45,60,75,92,108,127
|Note|Dur:16th|Pos:-2|Opts:Stem=Down
|Note|Dur:16th|Pos:-2|Opts:Stem=Down
|Note|Dur:16th|Pos:-1|Opts:Stem=Down
|Note|Dur:16th|Pos:0|Opts:Stem=Down
|User|Markup.rg|Pos:-7|Markup:/h1/f1/a-70CCCC
|Rest|Dur:8th|Visibility:Never
|Boundary|Style:Collapse
|Bar
|Rest|Dur:Half,Dotted|Visibility:Never
|AddStaff|Name:"Staff-1"|Group:"Standard"
|StaffProperties|EndingBar:Section Close|Visible:Y|BoundaryTop:10|BoundaryBottom:10|Lines:5|Color:Default
|StaffProperties|Muted:N|Volume:127|StereoPan:64|Device:0|Channel:2
|StaffInstrument|Trans:0|DynVel:10,30,45,60,75,92,108,127
|Rest|Dur:4th|Visibility:Never
|Boundary|Style:EndCollapse
|Spacer|Width:300
|Note|Dur:8th|Pos:0
|Bar
|TimeSig|Signature:3/4
|Spacer|Width:250
|Note|Dur:8th|Pos:1
|Note|Dur:16th|Pos:1
!NoteWorthyComposer-End
231
General Discussion / Re: quarter note's rest out side of the staff
Hi Frank,

To create the code in the box:
  • Select*, in NWC, the section you want to create a code copy of
  • Press <Ctrl+C> to put it in the clip board
  • In the forum message creation space click the NWC2 button (far left, second row)
  • This will give you a section where you can paste <Ctrl+V> the code you copied from NWC - put it between the "code" tags
  • Done.  Now just complete the rest of your post

* Position the cursor at the start of the section, hold down <Shift> and move the cursor to the end of the section, it will highlight as the cursor moves - this is standard Windows stuff.  I'm sure you do it all the time when copying and pasting between staves or sections.

As for the "trial and error" bit how about I give you a step by step of how I created the segment?  I will be using only keyboard shortcuts for this example.  You could also use the menus and toolbars for much of it if you prefer.  If you haven't yet learned the keyboard shortcuts for the things you most commonly use I suggest you give it a go, it makes things soooo much faster and is one of the real gems of the NWC user interface.

  • in a new song, place the bass clef: press <C> arrow to the bass clef, press <Enter>
  • place the first crotchet 'C': place the cursor in the 2nd space, press <Shift+UpArrow> to force stem direction to 'up' press <3> to set time value and then press <Enter>
  • place the minim chord member: without moving the cursor press <2> to set the time value, press <Shift+UpArrow> to reset the stem direction** and then press <Ctrl+Enter> - setting the stem direction this way ensures the crotchet appears before the minim in the "split stem" chord
  • place the rest: press <3> to set the time value and press <space>
  • move the rest up: select the rest (cursor is to the right of the rest so just press <Shift+leftArrow>) then press <Ctrl+Shift+UpArrow> sufficient times to move the rest to the desired vertical position.
  • place the 2nd crotchet 'C': the cursor should still be in the 2nd space but the rest will still be selected, so press <RightArrow> to move the cursor to the right of the rest.  The time value should still be '3' so now just press <Enter>
  • place the 2 quavers: press <4> to set the time value, press <UpArrow> to move the cursor up, press <Enter>, move the cursor up again and press <Enter> again, beam them with <Alt+T> <B> (Tools, automatic beam).  This completes the note placements.
  • place the last slur: press <leftArrow> to move the cursor to the right of the 2nd last note, press <Shift+LeftArrow> twice to select the 'D' and the 'C' and then press <;> to make the slur.  Press <Alt+Enter> to get to note properties and change the "Slur Direction" to "Upward"
  • place the marker: move the cursor left <LeftArrow> to just before the crotchet 'C' that has the slur starting on it and press <Shift+@> to start the Marker dialogue, select the Slur checkbox (clear any others) and press <Enter>.  The marker will be on the 0 location on the staff (the centre line), select it <Shift+LeftArrow> and move it up <Ctrl+Shift+UpArrow> until it is in a pleasing location.  I found the ending position wasn't quite what I wanted so put a marker before the 'E' as well - same process.
  • place the slur.ms object: for reasons discussed previously we cannot just use a native NWC slur, so, position the cursor to just before the 'C'+'C' chord, press <J> to go to the "Add Object" dialogue, press <S> to rapidly move the the general location in the list of slur.ms, arrow to slur.ms and press <Enter>.  The dialogue that appears allows you to change parameters for the slur, ignore them for now and press <Enter> again
  • You will find that the slur will go from the chord to the rest in an upward direction and the starting point is close to the noteheads.  To fix this select the anchor for the object <Shift+LeftArrow> should do then press <Alt+Enter> to open the dialogue.
  • In the slur dialogue change the note span from 2 (the default) to 3.  This will extend the slur to the next note (the crotchet 'C'), also change the direction to "downward".  To move the starting point down use the "Start Offset", "Y" number box arrows to put a number in to see what it does, press <Enter>
  • observe the result - if you're happy with it, then job done, but if you want to change it go back into the dialogue and change the desired parameters (probably the Y start position) a bit to see if you get what you want.  Repeat as necessary until you're happy with the result - this is the "trial and error" part.
  • Job done

** Setting stem direction is a toggle - if you're uncomfortable using the keyboard to set this you can use the toolbar (if the stem direction icons are showing on one of them) OR use the "Notes" menu (Stem Up - near the bottom of the list)
233
General Discussion / Re: quarter note's rest out side of the staff
Hi Frank,
if we use only native NWC features we can't get it quite right without layers, but try this:
Code: (nwc) [Select · Download]
!NoteWorthyComposerClip(2.751,Single)
|Clef|Type:Bass
|Chord|Dur:4th|Pos:-1|Opts:Stem=Up|Dur2:Half|Pos2:-1^
|Rest|Dur:4th|Opts:Stem=Up,VertOffset=6
|Marker|Pos:4
|Note|Dur:4th,Slur|Pos:-1|Opts:Stem=Up,Slur=Upward
|Note|Dur:8th,Slur|Pos:0|Opts:Stem=Up,Slur=Upward,Beam=First
|Marker|Pos:9.5
|Note|Dur:8th|Pos:1|Opts:Stem=Up,Beam=End
|Bar
!NoteWorthyComposerClip-End

The only problem is the minim (half note) is tied to the crotchet (quarter note) on the third beat where the image suggests it should be a slur.  Unfortunately we can't use a slur here without going to layering because it would only reach the rest unless we also extended the slur from the rest in which case it would join with the slur for the top voice that's covering the last 3 notes:
Code: (nwc) [Select · Download]
!NoteWorthyComposerClip(2.751,Single)
|Clef|Type:Bass
|Chord|Dur:4th,Slur|Pos:-1|Opts:Stem=Up|Dur2:Half|Pos2:-1
|Rest|Dur:4th|Opts:Stem=Up,VertOffset=6
|Marker|Pos:4
|Note|Dur:4th,Slur|Pos:-1|Opts:Stem=Up,Slur=Upward
|Note|Dur:8th,Slur|Pos:0|Opts:Stem=Up,Slur=Upward,Beam=First
|Marker|Pos:9.5
|Note|Dur:8th|Pos:1|Opts:Stem=Up,Beam=End
|Bar
!NoteWorthyComposerClip-End

Code: (nwc) [Select · Download]
!NoteWorthyComposerClip(2.751,Single)
|Clef|Type:Bass
|Chord|Dur:4th,Slur|Pos:-1|Opts:Stem=Up|Dur2:Half|Pos2:-1
|Rest|Dur:4th,Slur|Opts:Stem=Up,VertOffset=6
|Marker|Pos:4
|Note|Dur:4th,Slur|Pos:-1|Opts:Stem=Up,Slur=Upward
|Note|Dur:8th,Slur|Pos:0|Opts:Stem=Up,Slur=Upward,Beam=First
|Marker|Pos:9.5
|Note|Dur:8th|Pos:1|Opts:Stem=Up,Beam=End
|Bar
!NoteWorthyComposerClip-End


The best fix is to use a slur.ms object:
Code: (nwc) [Select · Download]
!NoteWorthyComposerClip(2.751,Single)
|Clef|Type:Bass
|User|Slur.ms|Pos:-3|Dir:Downward|Span:3|StartOffsetY:2
|Chord|Dur:4th|Pos:-1|Opts:Stem=Up|Dur2:Half|Pos2:-1
|Rest|Dur:4th|Opts:Stem=Up,VertOffset=6
|Marker|Pos:4
|Note|Dur:4th,Slur|Pos:-1|Opts:Stem=Up,Slur=Upward
|Note|Dur:8th,Slur|Pos:0|Opts:Stem=Up,Slur=Upward,Beam=First
|Marker|Pos:9.5
|Note|Dur:8th|Pos:1|Opts:Stem=Up,Beam=End
|Bar
!NoteWorthyComposerClip-End
234
General Discussion / Re: quarter note's rest out side of the staff
Hi Frank,
I'm not certain what the writers intentions actually are, but the split voicing in the basses may be either an expectation that the basses will have some sing one part and others the other part, OR perhaps it is an alternative for a second time through...  Don't know for sure and further context may help, but it doesn't really matter from the point of view of getting the writing to work.

There are only 4 beats in this bar, the crotchet (quarter note) 'C' in the "top" voice is in a chord with the minim (half note) 'C' in the "bottom" voice.  The offset rest is for the top voice only to give a correct beat count for that voice, it is ignored by the bottom voice.

To write this in NWC is easy:
  • place the crotchet C and set the stem UP
  • place the minim C by setting the value <2> and then the note <Ctrl+Enter>
  • place the rest <3> for the value, then <space> for the rest
  • select the rest <Shift+Arrow> across it then reposition it vertically <Ctrl+Shift+Arrow>
  • Now enter the rest of the notes as per normal.

The tie between the minim 'C' and the following crotchet 'C' looks ambiguous - it could be a slur or it could be a tie.  I think I'd use a slur.ms object to get the appearance while, otherwise a tie would stop the top voice from sounding the beat 3 'C' and a slur would interfere with the appearance of the later slur.

The 'p' dynamic in the tenor and not the bass is not unreasonable - it is just setting the dynamic to match the alto (which happens in the next bar), and probably the sop which I guess happens in a following bar we can't see.  The Bass may already be at 'p' from the previous page, OR it may be intended as a strong voice for the rest of the voices to use as a foundation.
235
General Discussion / Re: slur and chords
Hi Lorenzo,
as mentioned in the previous replies, there are really 2 answers:
  • Use layered staves with just the notes required with the slur for those notes added on each staff (reply #2 from RickG)
  • Install the "slur.ms" user object and use the technique shown in the response immediately above your request (reply #6 from RickG).

slur.ms is available here if you don't already have it installed:
https://forum.noteworthycomposer.com/?topic=9120.0
237
General Discussion / Re: dynamic variance
Quote from: FrankSit –
Hi  Lawrie,
Sorry I have to rewrite my question, because I can not attached the file in the reply.
Like in this attached, there is poco a poco e rit pp. How to make it look like in the song book. and what are those.
Looking at it, it's actually "dim poco a poco e rit" followed by a pp dynamic.  This makes more sense.

I would use the 2nd technique I mentioned in my "poco cresc" reply:
https://forum.noteworthycomposer.com/?topic=10194.msg73436#msg73436

As the spacing of the terms is so spread out, put the "dim." in as normal as well as a hidden "rit." with it; add the "poco a poco e rit." as text entries; add the pp as normal. 

Also, add a hidden tempo mark just before the paused note with whatever target tempo you want for the end of the "rit."  Do the pause as normal. 

If this was in the middle of a song then I'd reset the tempo to whatever the score suggests it should be when you continue after the pause, however in this case it doesn't matter as the song ends at the pause.

When you asked "what are those" I assume you mean the terms "poco a poco" "e" and "rit."

"poco a poco" means little by little, or words to that effect.
"e" is basically the same as the word "and"
"rit." is short for ritenuto and can either mean "immediately slower" OR "gradually decreasing in tempo".  When I'm performing, and with all the groups I perform in, the latter definition is the one that is normally used BUT is not strictly correct as it should be the first one, "immediately slower".  In this case the "dim. poco a poco e rit." suggests to me that there should be both a gradual decrease in dynamic, AND a gradual slowing of tempo, hence why I gave the instruction I did.  It also seems to me to match the lyric.

Some people mistake "rit." to mean "ritard." and while the terms are similar, ritard, or more properly "ritardando", means "gradually decreasing in tempo".
238
General Discussion / Re: Poco Cresc.
Hi Frank,
score markings like this kind of dynamic variance are shown using the "Staff Italic" font.  So, to show "poco cresc." you have a couple of choices:

  • You could insert the "cresc." and then create a text entry just before it using the "Staff Italic" font with the "poco" text in it.  The challenge then is to line things up.  OR,

  • You could place the "cresc." and change it to be invisible, THEN place a text entry in the appropriate place with the full text "poco cresc." in it.  The cresc. will still work as per the rules I mentioned to you in my other recent reply on the subject:
    https://forum.noteworthycomposer.com/?topic=10193.msg73435#msg73435
239
General Discussion / Re: how to make it longer like in the picture
Hi Frank,
provided there are different dynamics either side of the "hairpin" AND the note isn't just one long, held note then the variance will happen.

The dynamic before the hairpin can be anywhere in the staff up to the hairpin, the one after it should be immediately after. 

Quite often in engraved music there is no defined ending dynamic, and that's fine because it's up to the musician and/or the musical director what change they want, but for the computer you need to tell it or the variance will be ignored.  This applies to the cresc. and decresc. markings too.  HOWEVER, the dynamics do not need to be visible to work, and thus you can imitate a score that doesn't specifically define the start/finish dynamic this way.
240
General Discussion / Re: copy obect
Hey Frank,
NWC generally* uses standard Windows (CUI**) controls.  E.G. You can highlight/select using <Shift+Arrow>, <Shift+PageUp/Down>, <Shift+Home/End>, <Click>+<Shift+Click (for a range)>, Click and Drag etc..  BUT NOT <Ctrl+Click> for non-contiguous selection.

For this I would simply select the object(s) to be copied, press <Ctrl+C>, move to the next staff, position the cursor in the correct horizontal location and paste <Ctrl+V>.

N.B. if you select multiple objects they will ALL be copied.  You can NOT perform non-contiguous selections.  So the D.S. and text entry can be copied in one selection as they are contiguous, BUT the Coda must be done as a separate selection as it is not contiguous with the D.S. and text entry.
 
* There are a few exceptions/omissions like non-contiguous selections.
** Common User Interface
241
Tips & Tricks / Re: how to get succeeding verses to show up in next section of music.
Something like this?  It only needs 2 lyric lines.
Code: (nwc) [Select · Download]
!NoteWorthyComposerClip(2.751,Single)
|Clef|Type:Treble
|Key|Signature:C|Tonic:C
|TimeSig|Signature:2/4
|Note|Dur:4th|Pos:-6
|Note|Dur:8th|Pos:-5|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-4|Opts:Stem=Up,Beam=End
|Bar
|Note|Dur:Half|Pos:-2
|Bar|Style:MasterRepeatClose
|Bar|Style:MasterRepeatOpen
|Note|Dur:4th|Pos:1
|Note|Dur:8th|Pos:0|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=End
|Bar
|Ending|Endings:1|ClosedBracket:Y
|Note|Dur:Half|Pos:-2
|Bar|Style:MasterRepeatClose
|Ending|Endings:2
|Note|Dur:Half|Pos:0
|Bar|Style:MasterRepeatOpen
|Note|Dur:4th|Pos:1
|Note|Dur:8th|Pos:-2|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=End
|Bar
|Note|Dur:Half|Pos:-2
|Bar|Style:MasterRepeatClose
|Note|Dur:4th|Pos:-2
|Note|Dur:8th|Pos:-2|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-2|Opts:Stem=Up,Beam=End
|Bar
|Note|Dur:Half|Pos:1
!NoteWorthyComposerClip-End

242
General Discussion / Re: several pictures
Quote from: FrankSit –
Thank you Lawrie for your explanation. I am glad that you helped me improved my knowledge. Any way where can we get the 117 commands of NoteWorthy. Is it easy to get?, or we go to help then search each one of it?
Happy to try and help Frank.

The command references are in the NWC help:
Click the Help menu, and select from Command Reference and Keyboard Reference.

The most effective teacher for NWC is practice and just messing around with it.

I've found that whenever I come across something I haven't replicated yet is when I learn the next skill or workaround.  Actually, the workarounds are the most interesting in some ways.  NWC has its limitations and being able to make it do something it doesn't do natively is somehow uniquely satisfying.  Although the need is sometimes somewhat frustrating.  There are some things that simply shouldn't need a workaround, like tuplets...

The next best teacher is this forum.  A little searching will uncover some truly interesting stuff.  The Tips and Tricks board is fascinating, but questions should really be asked in the General Discussion board (here) rather than in Tips 'n Tricks as that board is really intended for users to present solutions they have found rather than to answer questions.

243
General Discussion / Re: several pictures
The brace is visual, it usually denotes that a pair of staves are actually a grand staff a la piano music.

There is also an orchestral bracket that can be used.
244
General Discussion / Re: copy paste
Hi Frank,
Copy and paste works the same for everything, just highlight/select what you want to copy, move the insertion point to the destination and paste.

With NWC, if you <PageUp> or <PageDown> the insertion point (cursor) normally stays in the same relative horizontal position on successive staves.  This is not always exact, but is right about 99% of the time.  It will also seek to select the objects that take up the same space if you have an active selection.  This is right about 90% of the time.

If it helps, I usually place flow controls justified to the barline - in the use case in your example I would use Right Justified at Next Note/Bar placed immediately before the bar line and it will always align with the bar line.  Getting the "2nd time" text to align exactly how you want it may be something more of a challenge...  Certainly some trial and error is indicated.
245
General Discussion / Re: several pictures
Hi Frank,
following on from Mike:
  • The "12" in a box reminds me of a rehearsal mark.
  • The odd looking marks at the start of the second system seem to be a normal grand staff brace that has been cropped in the copy
  • The text is definitely "Drum fill"
  • Please be careful of copyright issues...

I have created a similar example and attached an image, and the .nwctxt that creates it is in the NWC Code box below.
Note that there are some objects (PageTxtMaestro and PageTxt) and one of my font suites (MusikDingsSerif) required to make it work.
The objects are, I think, included in the NWC V2.75 installation, and my font suites are on the NWC CD if you got it, OR can be downloaded from the main NWC web site:
https://noteworthycomposer.com/uc/pardypack/index.htm

Code: (nwc) [Select · Download]
!NoteWorthyComposer(2.751)
|Editor|ActiveStaff:1|CaretIndex:4|SelectIndex:5|CaretPos:1
|SongInfo|Title:"Sample Layout for Frank"|Author:""|Lyricist:""|Copyright1:"Copyright © <Year> by <Name>"|Copyright2:"All Rights Reserved"
|PgSetup|StaffSize:20|NtnTypeface:NWC2MusikDingsSerif|Zoom:5|TitlePage:Y|JustifyVertically:Y|PrintSystemSepMark:N|ExtendLastSystem:N|DurationPadding:Y|PageNumbers:0|StaffLabels:None|BarNumbers:Plain|StartingBar:1|AllowLayering:N
|Font|Style:StaffItalic|Typeface:"MusikTextSerif"|Size:10|Bold:Y|Italic:Y|CharSet:1
|Font|Style:StaffBold|Typeface:"MusikTextSerif"|Size:10|Bold:Y|Italic:N|CharSet:1
|Font|Style:StaffLyric|Typeface:"MusikTextSerif"|Size:10|Bold:N|Italic:N|CharSet:1
|Font|Style:PageTitleText|Typeface:"MusikTextSerif"|Size:24|Bold:Y|Italic:N|CharSet:1
|Font|Style:PageText|Typeface:"MusikTextSerif"|Size:10|Bold:N|Italic:N|CharSet:1
|Font|Style:PageSmallText|Typeface:"MusikTextSerif"|Size:8|Bold:N|Italic:N|CharSet:1
|Font|Style:User1|Typeface:"MusikDingsSerif"|Size:20|Bold:N|Italic:N|CharSet:1
|Font|Style:User2|Typeface:"MusikTextSerif"|Size:8|Bold:N|Italic:Y|CharSet:1
|Font|Style:User3|Typeface:"Times New Roman"|Size:13|Bold:N|Italic:N|CharSet:0
|Font|Style:User4|Typeface:"Times New Roman"|Size:13|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:"MusikChordSerif"|Size:14|Bold:N|Italic:N|CharSet:1
|PgMargins|Left:1.00|Top:1.00|Right:1.00|Bottom:1.00|Mirror:N
|AddStaff|Name:"Right Hand"|Label:"Piano"|Group:"Standard"
|StaffProperties|EndingBar:Section Close|Visible:Y|BoundaryTop:18|BoundaryBottom:10|Lines:5|WithNextStaff:Brace,ConnectBars|Color:Default
|StaffProperties|Muted:N|Volume:127|StereoPan:64|Device:0|Channel:1
|StaffInstrument|Patch:0|Trans:0|DynVel:10,30,45,60,75,92,108,127
|User|PageTxtMaestro.nw|Pos:1|Class:StaffSig
|User|PageTxt.nw|Pos:1|PgStyle:Title|Text:"Extra Objects And fonts"|Fnt:PageTitleText|YLoc:Top|XLoc:Center|CY:11|CX:4|FntSz:0.8
|User|PageTxt.nw|Pos:1|PgCtrl:Once|PgStyle:Needs|Text:Needs:|Fnt:StaffItalic|YLoc:Top|CY:13|XLoc:Center|CX:-16|FntSz:1.2
|User|PageTxt.nw|Pos:1|PgCtrl:Once|PgStyle:Fonts|Text:"Font Suite: MusikDingsSerif + Objects: PageTxtMaestro; PageTxt"|Fnt:User2|FntSz:1.2|XLoc:Center|YLoc:Top|BAlign:Center|CY:21
|Tempo|Tempo:84|Text:"Boldly"|Pos:20
|Text|Text:"{@$}"|Font:User1|Pos:10
|Clef|Type:Treble
|TimeSig|Signature:4/4
|Key|Signature:Bb|Tonic:F
|Rest|Dur:4th
|Text|Text:"CX/F"|Font:User6|Pos:14|Justify:Center|Placement:AtNextNote
|Chord|Dur:4th|Pos:-6,-3,-2
|Bar
|Text|Text:"F"|Font:User6|Pos:14|Justify:Center|Placement:AtNextNote
|Chord|Dur:4th|Pos:-6,-3,-1,1
|Chord|Dur:4th|Pos:-6,-3,-1
|Chord|Dur:4th|Pos:-8,-6,-3
|Text|Text:"Gm/Bb"|Font:User6|Pos:14|Justify:Center|Placement:AtNextNote
|Chord|Dur:4th|Pos:-7,-5,-2
|Bar
|Text|Text:"Gm/D"|Font:User6|Pos:14|Justify:Center|Placement:AtNextNote
|Chord|Dur:4th|Pos:-5,-2,0,2
|Chord|Dur:4th|Pos:-5,-2,0
|Chord|Dur:4th,Dotted|Pos:-7,-5,-2
|Text|Text:"Dm"|Font:User6|Pos:14|Justify:Center|Placement:AtNextNote
|Chord|Dur:8th|Pos:-8,-5,-3
|Bar|Style:Double
|Key|Signature:Bb,Eb,Ab|Tonic:E
|Text|Text:"Eb/Bb"|Font:User6|Pos:14|Justify:Center|Placement:AtNextNote
|Chord|Dur:4th|Pos:-7,-4,-2,0
|Chord|Dur:4th|Pos:-7,-4,-2,1
|Chord|Dur:4th|Pos:-2,0,3
|Chord|Dur:4th|Pos:-2,0,3,5
|Bar|SysBreak:Y
|Text|Text:"Fm/Ab"|Font:User6|Pos:14|Justify:Center|Placement:AtNextNote
|Chord|Dur:4th|Pos:-3,1,4
|Chord|Dur:4th|Pos:-4,3
|Chord|Dur:4th|Pos:-8,-3,1
|Chord|Dur:4th|Pos:-7,-4,-2
|Bar
|Text|Text:"Ab"|Font:User6|Pos:14|Justify:Center|Placement:AtNextNote
|Chord|Dur:Whole|Pos:-8,-6,-4,-1
|AddStaff|Name:"Left Hand"|Group:"Standard"
|StaffProperties|EndingBar:Section Close|Visible:Y|BoundaryTop:10|BoundaryBottom:10|Lines:5|Color:Default
|StaffProperties|Muted:N|Volume:127|StereoPan:64|Device:0|Channel:2
|StaffInstrument|Patch:0|Trans:0|DynVel:10,30,45,60,75,92,108,127
|Clef|Type:Bass
|Text|Text:"(Drum fill)"|Font:User2|Pos:12
|TimeSig|Signature:4/4
|Key|Signature:Bb|Tonic:F
|Note|Dur:16th|Pos:3x|Opts:Stem=Up,StemLength=6,Beam=First,Muted
|Note|Dur:16th|Pos:0x|Opts:Stem=Up,StemLength=6,Beam,Muted
|Note|Dur:8th|Pos:-4x|Opts:Stem=Up,StemLength=10,Beam=End,Muted
|Chord|Dur:4th|Pos:-5,2
|Bar
|Chord|Dur:4th,Dotted|Pos:-5,2
|Chord|Dur:8th|Pos:-5,2
|Chord|Dur:4th|Pos:-5,2
|Chord|Dur:4th|Pos:-2,5
|Bar
|Chord|Dur:4th,Dotted|Pos:-7,0
|Chord|Dur:8th|Pos:-7,0
|Chord|Dur:4th|Pos:-7,0
|Chord|Dur:4th|Pos:-7,0
|Bar|Style:Double
|Key|Signature:Bb,Eb,Ab|Tonic:E
|Chord|Dur:4th,Dotted|Pos:-2,5
|Chord|Dur:8th|Pos:-2,5
|Chord|Dur:Half|Pos:-2,5
|Bar
|Chord|Dur:4th,Dotted|Pos:-3,4
|Chord|Dur:8th|Pos:-3,4
|Chord|Dur:4th|Pos:-3,4
|Chord|Dur:4th|Pos:-4,3
|Bar
|Chord|Dur:4th,Dotted|Pos:-3,4
|Chord|Dur:8th|Pos:-3,4
|Chord|Dur:Half|Pos:-3,4
!NoteWorthyComposer-End
246
General Discussion / Re: Insertions resize
I would actually like to see this kind of property apply to an entire staff.  That way you can have the Vocal/Piano chart look that is so common.
247
General Discussion / Re: Insertions resize
Quote from: lawrroc –
It is possible to resize the characters of the insertions of dynamics, performance styles, tempo variance etc.?
If they are entered as text, which can be easily resized, does it affect the playback?
Thank you and have a nice day (it's raining here!).
Lorenzo

Actually, you CAN change the text size of these objects.  They are governed by the size of various settings in | Page Setup | Fonts (tab):

  • The Coda and Segno symbols, and the text size for Dynamics, are controlled in conjunction with "Staff Metrics" - change the metrics and the these change too.  Their relative sizes remain the same.
    Of course this may not suit your needs in which case place these objects as Visibility | Never and put visible text entries over them.
    This is the reason I made the Segno and Coda symbols extra large in the System font in my font suites.  The standard sized ones were far too small IMHO.
  • Other than dynamics, if a standard objects text appears as Bold Italic, the entry for "Staff Italic" controls it E.G. Performance Styles, tempo variances and flow control (including the associated text with flow control objects that contain Segno and Coda symbols)
  • If the text is simply bold then Staff Bold controls it (E.G. Tempo (MM)
248
General Discussion / Re: to edit chord member
Hi Frank,
what H.M. said,
Easiest way:
<Ctrl+Enter> to add a chord member,
<Ctrl+Backspace> to remove.

There are also a bunch of other options available if you right-click the specific chord member you want to edit.  Personally I usually find it faster to delete the chord member, pre-set the attributes I want, and re-create the chord member.

Lawrie
249
General Discussion / Re: to move the < to the upper side of staff
Quote from: FrankSit –
My question is if I have a file, how can I have my code from my file/sample. Sorry some times we can not translate directly from our Indonesian language to English.
Thank you
OK, what I think you want is to post some code to the forum?

To do so, just highlight the part of the staff in NWC you want to post, press <Ctrl+C>, go to the forum where you're posting and click either the "#" (code) button or click the NWC2 button (logo).
This will put a pair of tags into your post and you can paste <Ctrl+V> your copied piece of music in between the tags.
250
General Discussion / Re: to move the < to the upper side of staff
Quote from: FrankSit –
Thank you Lawrie, I want to follow like your explanation. Anyway how can you produce the code from your Noteworthy Composer
Umm, the code is in my reply above.  Unless you're asking something else?

Just click "Select" in my example, then <Ctrl+C> to put it on the clipboard, then in NWC you can either paste <Ctrl+V> it into an existing staff, or create a new file with it <Shift+Ctrl+V> (or from the menu: | Edit | Paste as new file | )