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Messages - hmmueller

51
General Discussion / Re: MIDI output not working
Quote from: deltaeupher –
The windows media player seems to have stopped, I can't hear sound from a youtube video but I can get sound from PBS streaming
"Windows Media Player" is a specific software that can play MIDI files (what plays a Youtube video is your browser, and a few pieces in the Windows operating system). Try to start Windows Media Player by pressing the Windows button on your computer keyboard (the button with the sort-of window on it) and then typing WMP, pressing Enter and then pulling a MIDI file into its right-hand pane ... and then making it play.

H.M.
52
Tips & Tricks / Re: smaller notes
Hard to say, from this small snippet - I'd need to see the complete score to understand this.
How to recreate them: With the Cueheads.ms plugin.

H.M.
54
General Discussion / Re: two problems
Here is my "practical" attempt, with standard NWC means (no Beam object) and Rick's Markup for the line.

H.M.
55
General Discussion / Re: flip a tie upside down
I use it quite often, actually.

My last example (last 4 measures in Downslurring2) shows why one might think "it does not work (often, or always)":

- The slur in m.9 apparently is pushed up by the flat sign;
- but just putting a low marker before the flat, as in m.11, apparently "does nothing".
- The reason is the slur is also (almost) touching the second note, so the single marker in m.11 does not work - but also a single marker before the second note changes almost nothing in m.10.
- Only both markers together, as in m.12, move the slur visibly.

A visual hint showing why a slur looks as it does would be helpful  :P

H.M.
56
General Discussion / Re: flip a tie upside down
Hm - it does work in quite a lot of other situations - see attachments (I have never tried those cases before ...). But I have no "set of rules" on what it really does ...

H.M.
57
General Discussion / Re: flip a tie upside down
Quote from: Lawrie Pardy –
You can place markers anywhere along the slur, but the ones between the ends can only increase the curve from the default, they cannot flatten the curve, you can only do that from the ends.
This is not true, AFAIK - markers can flatten slurs. Attached is an example where NWC typically creates a high-arching slur to avoid the flat signs; if you want to lower that slur (e.g. if it intersects lyrics on the staff above), you can force the slur to go through the accidentals by adding two low-lying markers at the two intermediate notes.

H.M.
58
General Discussion / Re: MIDI files
Your posting motivated me, after years and years, to install a soundfont for VLC. I use chorium.sf2 (can be found at many places on the internet, AFAIK), and installed it like that.

- If VLC then plays your MIDIs audibly, all is well (more or less: You'd have to find out why WMP no longer makes sounds ...).
- If VLC is also silent, it's the sound system that doesn't like you.

Don't know whether this is of any (tiny) help ...

H.M.
59
General Discussion / Re: Is this software dead?
The software being "dead" is, IMHO, different from no longer maintained: NWC can be used as it is on Win 10 and Win 11 without any problems.

For maintenance, my honest take is this (being a software architect in a medium-sized special-software company - not a product manager, but knowing lots about writing and delivering software):

a. The expected level of features of a typical music editor (like NWC) has grown significantly over the last 10 years: Part creation is of course necessary; also roughening out usage weirdnesses from old times; creating apps for at least listening, maybe assembling play lists or the like; but the most important thing is a modern sound rendering engine with qualitative initial sound configuration, and of course the ability to connect to all known sound rendering standards.
MuseScore, with its 4.x rewrite, and Dorico are two baselines against which small(er) music editors need to position themselves, IMHO.

b. As I know NWC from long ago, I'd guess(!) that the organization would need quite some overhaul to make it fit for the features under a. - mainly because you need specialists in a few areas for this. MuseScore, as an open souce project; and Dorico at Steinberg can do that: Tapping deep-knowledge personnel from nearby areas. I would doubt that "an enthusiast" is, as of nowadays, easily capable of that.

I dont want to cast deathspells on anything; and I quickly returned and return to NWC for most of my work after learning MuseScore 4, with a real course, and "even" writing a few scores with it. For actual composing and arranging, there's nothing better than NWC. Yet, I'm now setting up tool chains (e.g. with Opagust's NWCConvertor) that embed NWC in a somewhat larger ecosystem to compensate for missing features, especially in the sound rendering area.

H.M.
60
General Discussion / Re: Changing the key signature
Quote from: FrankSit –
Anyway what do you mean by lower or higher one third, is it one third of an octave?
A third = 3 notes, e.g. from C to A (downwards); or from B to D (upwards).

With some singing in ("warmup") before a performance, all the "singing muscles" relax, and it is then possible to reach more notes - like in sports  ;D Extending the range by a third is possible - no big deal, just "oiling your voice" a little before the performance  :)) Then, you might not have to shift the song up or down!

H.M.
61
Tips & Tricks / Re: Slurs or ties direction
If I understand you correctly, then what you can do after you have entered all notes:
  • Select everything on the staff ("Home", then "Shift-End"),
  • open properties Alt-Enter,
  • there will be a few/many tabs - go to the "Notes" tab (you might have to scroll with the small arrows at the upper right),
  • and now you can set the Slur and Tie direction for all notes at once.
  • "Ok" closes the dialog and saves your selected directions to all notes.
Now, all existing ties and slurs, and also all that are added later, use your selected directions.

H.M.
62
General Discussion / Re: Changing the key signature
Hi Frank - can you do "singing in" before the song is performed? - because if you do this - just some relaxing and then singing a few triads up and down the scale -, the range of your singers can be extended by at least a third, I'd say. That's why choirs do this :-)

Regards
H.M.
63
General Discussion / Re: Final variant
Hm, I would contradict that "all is possible" ... but much, yes.
And that modified XTextShiftable is not an official version I will support or publish - it's just a hack for trying this  ;D

H.M.
64
General Discussion / Re: Final variant
Quote from: Mike Shawaluk –
...The scenario I've had difficulty with is positioning text at the start of a staff (for example, the text "Refrain" or "Verse 2"). I would like the text to be left aligned with the automatic clef at the start of the staff, ...
You want, on the second or a later line, to appear a text that is left aligned with the clef there, i.e. the text starts at the left side of the clef reliably? I think one can write a user object that helps with that, which simply shows a text left-shifted by some inputable distance. The width of a automatic clef, key signature and time signature is known (to us, at least), and also the distances between them are stable. Thus, one can add them up and use this as the shift distance.
In the attachment is a hack of my XText object with added shifts; and an example for its use. It places the texts quite nicely, I think ...

H.M.

67
General Discussion / Re: Oblique lines between two staves
Quote from: lawrroc –
...I only partially understood your observations on what concerns the correctness of the composition and harmony ...
Here is an NWC file that shows the buildup of the segment from its four voices; and tries, colorfully, to show my three concerns - 1) that the bass line consists of quarters; 2) and 3) whether the gb is part of the bass, and whether it is correct. But this is just for amusement for those of you who, like me, like to nitpick around a little about this and that musical segment  :D

H.M.
68
General Discussion / Re: Oblique lines between two staves
Those are "melody indicator lines" (my name, don't know whether there is some official name).
This piece, if you listen to it, has four melodic lines - I list them here in logical order, not in the order of pitch:

a) the top or main melody ("soprano"), which consists only of d-flats (with grace notes).
b) a bass line, going g-flat, a-flat, f | g-flat, f, e-flat, g-flat | ... (but see remarks 1) and 2) below!)
c) counter-strikes below the bass line = all the d-flat eighths in the left hand;
d) and finally a "bass parallel line", which almost completely runs a third above the bass line: b-flat, c-flat, a-flat | b-flat, a-flat, g-flat etc. This line is - for whatever reason; it's not actually necessary for playing - split between the right and left hand: from the a-flat in the second measure onwards, it is played by the left hand; starting at the c-flat in the third measure, the right hand plays it. Now, these oblique lines indicate this, to show the pianist that this is to be played as one continuous "inner melody".

If you, and anyone, is a little surprised that a piano piece can contain 4 "voices" or "melody lines", even if there are only two hands: The only thing I can say is that's how music works - it consists of many more interwoven elements that one might expect on the surface (there are quite a number of other interconnected patterns even in this small segment ... but I'm not going to blabber along about them ;D ).

A pianist should, if playing well, play all these lines differently, mainly with different volumes and different articulation, so that they are (even if subconsciously) communicated to the listener - therefore, it is customary to indicate "more unexpected" ones of these lines.

There are, in my opinion, two or maybe three errors in this score:
1) In the first measure, one can see that the bass line (b) above) is accentuated by having it played as quarters - the additional upward stems in the left hand. As this line continues in the second and third measures, the upward stems must go down to the bass line notes - see attached image. In NWC, this can only be achieved with a layered staff, AFAIK.
2) In the third measure, there is no note for the bass line on the fourth beat. The c-flat, as indicated by the line, is part of the "bass parallel line"; but there is no quarter note that would continue the bass line.
3) The low g-flat in the left hand below that c-flat seems out of place harmonically; it introduces a pedal tone, which was not present before ... but as I dont know the rest of the piece, this might be intentional; still, I, as a composer, would include this strange note in the bass line and stress it, again (at least) by making it a quarter note.

H.M.
69
General Discussion / Re: Exported MIDI Malformed
The MPC in the lower staff has still Time Offset 127! ... and I get the feeling that you do not really know how MPCs work? - then, please, just delete them. The tiny decresc. at the end is not worth the hassle, I'd say  :D

Especially with your selection of instrument, Pad (4) choir / patch 91, this seems unnecessary: As one can hear in measure 4, there is a decresc. for longer notes built into that instrument anyway; so the additional effect in the last measure is not really audible.

But if you want them, some guidelines:
- The Initial Time Offset is practically always 0 - i.e., the effect starts at the point where you place the MPC.
- A typical MPC only works if at least Setting 2 is checked - otherwise, there is no target value.
- Linear Sweep, and a Sweep Resolution of 1, are typically selected. Other values here need to have a special reason.
- Typically, I limit the effect of a MPC to a single measure. So, in 6/8 piece, I would set "Time Resolution" to "Eighth", and "Setting 2 | Time Offset" to 6 (at most).
- Also, for a decresc at the very end, I'd set the "Setting 2 | Controller Value" to 0, i.e. total silence, to make the effect really audible.
When I do all that in your score, it does exactly what it should - a nice decresc at the very end, and a play time of 0:36!

H.M.
70
General Discussion / Re: Exported MIDI Malformed
Interesting  :)
The reason is in the MPCs: They have an "Initial Time Offset" of 127 = their behavior starts about 127 eighths after the end of the piece. Playback and MIDI export seem to take this literally and extend the file up to that point.
Please note that playback lasts also for a much longer time (1:21) than until the final chord of the piece (about 0:36).

H.M.
71
Object Plugins / StrokeHeads 0.1
For noteheads that look like pen strokes, I have quickly assembled this user object. It's maybe useful for rhythm notation. I didn't look whether something similar is already available, I confess.
StrokeHeads.hmm is essentially a copy-paste of Mike's CueHeads.ms object (thanks for that one!), without the possibility to change any size. See examples.

H.M.
72
General Discussion / Re: Page view
No, I do not think so.

There are actually 6 zoom levels (1/6 = full page is visible, 2/6 = about a third of the page, 3/6...6/6 = not useful except in very rare cases). Paging behaviour in 2/6 and higher is also strange as a PgDn/PgUp does not reset the position to the top/bottom of the newly opened page, but remains at the same relative location. But I can now live with it as follows:

"Going down enlarged":
  • Opening: Alt-F V + and immediately 5 up-arrows
  • Going down: down-arrow
  • Next page: PgDn and then immediately 5 up-arrows
"Going up enlarged":
  • Going up: up-arrow
  • Previous page: PgUp and then immediately 5 down-arrows

After rehearsing this like a new piano piece a few times, you do it automatically and end up about where you want  :)

H.M.
74
Object Plugins / Re: BarCounter.hmm 0.5
Hu - thanks for suggestion - I'd have to look into it. I use the object extensively (also the checking option, after having delivered voice prints with "slightly differing" measure numbers - all hell broke loose  >:( ), so I should have enough test cases. But may take a few weeks, as ... too much to do.

H.M.
75
General Discussion / Re: Good Tie
Hi Frank -

your arrow points at a slur, not a tie - it slurs the notes f#-g-f#. Therefore, a slur with additional markers to position it should be helpful. Also, the slur in the upper voice can be made more beautiful with markers - see attachments!

Also a happy new year around the world!
H.M.
76
Object Plugins / Re: Tremolo.ms (2.1)
Hm - I just tried it, and it worked - see the attached image: Left measure shows the initial notes; when I mark both of them and then run the Tremolo plugin's user tool, I get what ist een in the next measure: Both the notes and the rests are dotted.

H.M.
77
General Discussion / Re: alternating number of verses
Easily done: In "Special text", enter the numbers (or even other text) you want to see separated by spaces. See the attached example where I needed verse numbers 1., 3., and 6.
  • I added "1 3 6" in "Special Text";
  • I kept the dot in "Punctuation", so the numbers become 1., 3., and 6.
  • The "Start Verse Number" entry is irrelevant in that case - even through I selected "5" there, this does not show up anywhere.
I hope that helps.

H.M.
78
General Discussion / Re: vertical line
... just as a demonstration, here are four examples from our Lutheran church's "songbook with more modern songs", with three where a separation line is in the middle of a bar. German "Strophe" is "verse", "Kehrvers" means "chorus".

The first two examples (ChorusSeparationExample1.png and ChorusSeparationExample2.png) are of standard verse-chorus songs. One can see that a double bar line is used to separate verse and chorus in the middle of a measure:
- The first song (numbered 091) is in common time, the double bar is after 3 beats; the chorus starts with an anacrusis of two quavers.
- The second song (069) with alla breve meter has the double bar line in the middle of the second beat.
In both cases, the double line could be placed at the end of a line - I did not find an example where they put one that is in the middle of a bar in a running line; but there are multiple examples where a double line is used to separate verse and chorus at a measure boundary, see e.g. ChorusSeparationExampleInLine.jpg (0117); I see no reason one couldn't use this also in the middle of a bar.

The fourth example (ChorusSeparationExampleChorusFirst.png, 048) is a song that starts (and ends) with the chorus. In such cases, a standard end line ("Section Close" in NWC) is used, also in the middle of a line and even in the middle of a bar.

H.M.
79
General Discussion / Re: vertical line
It is a line indicating that some "segment" of the piece is ending here (as also indicated by the fermata on the previous chord). In your case, it is the boundary between the verse and chorus parts of the song (it says CHORUS above).
Today, this would be written as a "Double" barline (in NWC, with "Exclude from bar count" set, so that the bar numbering is not confused by it).
In that case of an older score, the printer seems to have opted for a "somewhat thicker line".
If you want to show this (but this will confuse readers! - it is not used nowadays; use a "Double" bar line, or even a "Broken Double" line), you can put in 3 or 4 normal barlines - NWC will then print a thicker line - see attachments.

H.M.
81
General Discussion / Re: What is this?
Quote from: Mike Shawaluk –
My own "wild guess" is that it's some form of shorthand for a tied chord, maybe intended on a handwritten score, where the composer didn't want to have to write in all of the notes for tied chords. It seems like an intuitive (albeit nonstandard) way of showing tied chords that would take less time to write and be a little less cluttered on a multi-instrument score.
All of us think the same - but it looks very "locally custom-invented" ... Is there no explanation at the bottom, top, back, ... of the score?

H.M.
82
General Discussion / Re: Key signature
Quote from: David Palmquist –
Is it possible those are not sharp signs, bur instead are double sharps?
No, these are standard sharp signs. They look like "ours", i.e. like "hash marks" #, just angled at about 45°. This was the custom way to write (or rather, engrave) them for a long time.

Edit: Attached are two examples from a famous Mozart sonata - the second image shows the beginning of Alla Turca.

H.M.
83
General Discussion / Re: Up and Down beams on same set of notes
Well, then:
Code: [Select · Download]
!NoteWorthyComposer(2.751)
|Clef|Type:Treble
|User|Markup.rg|Pos:-5|Markup:/x4.3/m2.98/a0_
|Chord|Dur:8th|Pos:3|Opts:Stem=Up,Beam=First|Dur2:4th|Pos2:-1
|Spacer|Width:200
|Chord|Dur:8th|Pos:3|Opts:Stem=Up,Beam=End,XNoteSpace=0.1|Dur2:4th|Pos2:-1
|User|Markup.rg|Pos:-4|Markup:/x2.7/m2.9/a-3.5__
|Chord|Dur:16th,Slur|Pos:5|Opts:Stem=Up,Beam=First|Dur2:4th,Dotted|Pos2:0
|Note|Dur:16th,Slur|Pos:4|Opts:Stem=Up,Beam
|Note|Dur:16th|Pos:3|Opts:Stem=Up,Beam=End
|Chord|Dur:16th,Slur|Pos:5|Opts:Stem=Up,Beam=First|Dur2:4th,Dotted|Pos2:-1
|Note|Dur:16th,Slur|Pos:4|Opts:Stem=Up,Beam
|Note|Dur:16th|Pos:3|Opts:Stem=Up,Beam=End
!NoteWorthyComposer-End
I like your (and NWCs) nonchalant ignorance of note lengths in the second voice - "quarters/crotchets for everything"! An interesting idea to get rid of those flags ...

H.M.
84
General Discussion / Re: Up and Down beams on same set of notes
Quote from: Warren Porter –
I am trying to beam the eighth (dotted) notes in the following snippet:
...
Can this be done with an object now? I don't want to add a hidden staff if at all possible.
I am quite sure it cannot be done with an object in practice - because shortening only the stems of the dotted eighths is not possible (if you reduce the stem length to 0, also the sixteenth's stem vanishes). But with a non-vanishing stem, the flag remains visible - so no beams.
(Formally, you could use some text object to "white out" the lower stems and flags; and then apply a beam object. I cannot believe that you would want to do this).

H.M.
86
General Discussion / Re: Convert file in NWC to Midi format
Quote from: David Palmquist –
hmmueller FlurmyNWC2 will export to Midi type 1. 
How?? If I export a multi-staff score, I always get files that look like this (this is from a 10-staff score of J.Rutter's Candlelight Carol, where I added a flute voice, among others):
Code: [Select · Download]
0, 0, Header, 0, 1, 192
1, 0, Start_track
...
1, 61632, End_track
0, 0, End_of_file
with no other track markers in between. The three "data words" are 0, 1, 192, which indicate the type, number of tracks,  and tim division. In MIDIs exported from NWC, I have never seen anything else than "Header, 0, 1, ..." here, i.e., a type 0 file.

And I am very happy that NWC exports type 0 files. For my purposes - crank organ controlling and  other "technical things" -, having all events already ordered by time in the MIDI file is very helpful. Wth a type 1 file, I'd have to collect all events and sort them with some helper program. MuseScore, for example, only exports type 1 files - a pain in the ass for such usages. I have never had any use for a multi-track file; simple separation of staves by channel is fine for me and my DAWs.

H.M.
87
General Discussion / Re: How would you play this?
I'd say:
- If this was written with some software, someone just forgot to remove the flat symbol after a copy-paste of the first note, and then connecting them with a tie; or after redoing the line breaks (i.e., in a previous version - or in the complete score??!*), the second note might be on a new line.
- If this is a "old times punched(?)" score, I would still think it's simply an error.

(Historically, the French - I think - actually repeated the accidentals in ties over bar lines; but then, they did it consistently).

* Probably this makes most sense: In the full score, there IS a line break here, so the flat on the second note makes sense. In the part, there isn't a line break, but either the software cannot switch on/off accidentals depending on which part is printed; or if it can, someone forgot to set the switch in the part.

H.M.
88
General Discussion / Re: Convert file in NWC to Midi format - Delays not exported
... however, there is a problem with MIDI export: Delays of Breath marks, Fermatas and Caesuras are ignored.

In the attachment, there is an example MIDIWithoutDelays.nwc. The length of a quarter is 192 ticks, hence a sixteenth has 192/4 = 48 ticks. The lengths of the notes and the pauses in between therefore should be:
Code: [Select · Download]
1st quarter = 192
1st pause   =   0
2nd quarter = 192
2nd pause   =  48 (because of the Breath mark with Delay 1)
3rd quarter = 192
3rd pause   =   0
4th quarter = 192 + 2 x 48 = 288 (because of the Fermata with Delay 2)
Actually, the MIDI ticks (second column) are as follows:
Code: [Select · Download]
1, 0, Note_on_c, 0, 60, 110
1, 192, Note_on_c, 0, 60, 0     // 1st quarter             = 192
1, 192, Note_on_c, 0, 64, 110   // 1st pause = 192 - 192   =   0
1, 384, Note_on_c, 0, 64, 0     // 2nd quarter = 384 - 192 = 192
1, 384, Note_on_c, 0, 67, 110   // 2nd pause = 384 - 384   =   0 !
1, 576, Note_on_c, 0, 67, 0     // 3rd quarter = 576 - 384 = 192
1, 576, Note_on_c, 0, 72, 110   // 3rd pause = 576 - 576   =   0
1, 768, Note_on_c, 0, 72, 0     // 4th quarter = 768 - 576 = 192 !
The only method I know how to get such delays correctly into the MIDI file, is to change the tempo, which is not always easy.

H.M.
90
General Discussion / Re: So, what?
I am not sure what could be a "more formal explication": Musical notation is either agreed on from quite old times (the center note after a treble clef is a b, for everybody), or it is custom in some community or among larger publishers (which might be written down, e.g. by Elaine Gould - but it's still custom). There is no "specification body" who would decree anything ...

Re the 3/4 to 2/4 change: There is a famous song "Es kommt ein Schiff, geladen" from the early 1400s which in the middle changes from three beats to two beats. The feeling, and the correct notation, is "alla breve". Typically, the first part is notated as 6/4, the second as 2/2 (or a C with a vertical bar), and at the change, it is indicated that a dotted half on the left equals a half on the right. About 70% of the conductors get this right, the other ... well ...

As for the Strawinski, I can only guess that in the "wider range of this composition", Strawinski or his editors thought that there might possibly occur a misunderstanding: Is there a time change with a different behavior in the same piece (but e.g. some other movement)? or in another of Strawinski's compositions of this time? or in the kind of music he was studying then (old music, probably)? One of these might explain the asserting notation at this place.

H.M.
91
General Discussion / Re: Back up question amid heartbreak
Quote from: SEBC –
Harald, I tried to download the print configuration object, but was told "attachment not found". I had missed your post on it earlier this year. I'm in the middle of a PhD so don't get to read the forum posts as often as I would like.
Mhm - maybe you tried just in the few seconds when I replaced version 0.4 with 0.5 - I just tried it, it worked. All the best with PhD-ing!

H.M.
92
Object Plugins / Re: PrintConfiguration (0.5)
I have uploaded version 0.5. With it, it is possible to change the name of a staff from e.g. "soprano" to "voices/soprano" without having to update all PrintConfigurations - the identifying name for a PrintConfiguration is what comes after the (first) /.

This is useful if one wants to add a PrintConfiguration to an existing staff; and then rename the staff so that the name shown in the Apply and Save user tools indicates the PrintConfiguration.

Example: Assume there are staves R.H. and L.H. in a piece with other instruments, you might want to put the PrintConfiguration for the piano part on the R.H. staff. But now, you'd like to rename the staff so that it shows up in the Apply/Save tools as "Piano part".

Solution: Rename the R.H. part to "Piano part/R.H." - this is the name that will be seen in the tools, but still, any PrintConfigurations referencing the staff as "R.H." (e.g. a complete score) will find the staff.

Of course, if one consistently uses a "top control staff" for each part print, this is not necessary - but doing so for smaller parts has also its (complexity) problems ...

H.M.
93
General Discussion / Re: Back up question amid heartbreak
After struggling with parts for some years, I wrote the PrintConfiguration.hmm object; and now use it always for parts handling. In the attachment is a recent score which shows 5(!) print configurations:
  • complete score
  • voices on 4 pages (was too small)
  • voices on 5 pages (somewhat cramped)
  • voices on 7 pages (many pages ...)
  • piano and solo voice
After making some (smaller) change in the score, it's usually 5 minutes to create all 5 PDFs anew ...
And yes, I typically use an invisible, single line "top control staff" for a print configuration, so that I can control system breaks and PageTxt objects for each print separately (but not always ... see piano+solo print configuration in the example, where I just use the solo voice staff as control staff; out of laziness).

H.M.

94
General Discussion / Re: Minimum intervals with dotted notes
There's also the option "Layered Lower Voice Dot Placement" in the Staff Properties to help with such things. But the result might or might not be what you want - see the attached score and images.

H.M.
96
General Discussion / Re: not loud enough
Quote from: Lawrie Pardy –
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?  :))  )
The attached NWC file yields the following MIDI:
Code: [Select · Download]
0, 0, Header, 0, 1, 192
1, 0, Start_track
1, 0, Text_t, "By <Name>"
1, 0, Copyright_t, "Copyright © 2022 <Name>"
1, 0, Copyright_t, "All Rights Reserved"
1, 0, Text_t, "Generated by NoteWorthy Composer"
1, 0, Lyric_t, "O "
1, 0, Tempo, 500000
1, 0, Control_c, 0, 7, 127
1, 0, Control_c, 0, 10, 64
1, 0, Key_signature, 2, "major"
1, 0, Tempo, 495867
1, 0, Time_signature, 4, 2, 24, 8
1, 0, Key_signature, 2, "major"
1, 0, Time_signature, 4, 2, 24, 8
1, 0, Note_on_c, 0, 69, 110
1, 160, Note_on_c, 0, 69, 0
1, 192, Lyric_t, "there'll "
...
BPM 121 is encoded in MIDI as "495867". And the O is still before all  those signatures ...

O, show, vanBasco - what a flow of rhymes, bro!

Quote from: Lawrie Pardy –
BTW, what MIDI to Text tool are you using?
midicsv and csvmidi from fourmilab.ch.

H.M.
97
General Discussion / Re: not loud enough
Software ... has it bugs, or at least "specificational problems". I wrote the first measure of your song (see attachment FranksO.nwc), exported it to MIDI and converted it to text. The result is:
Code: [Select · Download]
0, 0, Header, 0, 1, 192
1, 0, Start_track
1, 0, Text_t, "By <Name>"
1, 0, Copyright_t, "Copyright © 2022 <Name>"
1, 0, Copyright_t, "All Rights Reserved"
1, 0, Text_t, "Generated by NoteWorthy Composer"
1, 0, Lyric_t, "O "
1, 0, Tempo, 500000
1, 0, Control_c, 0, 7, 127
1, 0, Control_c, 0, 10, 64
1, 0, Key_signature, 2, "major"
1, 0, Time_signature, 4, 2, 24, 8
1, 0, Key_signature, 2, "major"
1, 0, Time_signature, 4, 2, 24, 8
1, 0, Note_on_c, 0, 69, 110
1, 160, Note_on_c, 0, 69, 0
1, 192, Lyric_t, "there'll "
1, 192, Note_on_c, 0, 68, 110
1, 286, Note_on_c, 0, 68, 0
1, 288, Lyric_t, "be "
...
One can see that Noteworthy emits the "O" syllable very early in the MIDI file, before the tempo, key, and time signatures. I don't know whether this is ok by a MIDI or Karaoke file standard, but it seems that the vanBasco player does not like it.

I tried what happened when one puts a rest at the beginning of the score - see the FranksOWithRest.nwc attachment. Voila, it works - the MIDI starts now as below, with the O after all these "signatures"; and vanBasco shows it as expected:
Code: [Select · Download]
0, 0, Header, 0, 1, 192
1, 0, Start_track
1, 0, Text_t, "By <Name>"
1, 0, Copyright_t, "Copyright © 2022 <Name>"
1, 0, Copyright_t, "All Rights Reserved"
1, 0, Text_t, "Generated by NoteWorthy Composer"
1, 0, Tempo, 500000
1, 0, Control_c, 0, 7, 127
1, 0, Control_c, 0, 10, 64
1, 0, Key_signature, 2, "major"
1, 0, Time_signature, 4, 2, 24, 8
1, 0, Key_signature, 2, "major"
1, 0, Time_signature, 4, 2, 24, 8
1, 768, Lyric_t, "O "
1, 768, Note_on_c, 0, 69, 110
...
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.

Yes, it's tricky sometimes ...

Re multiple verses, I added another one (see FranksOWithRestAndTwoVerses.nwc attachment) - at least for me, vanBasco played both texts from an exported MIDI (which I would expect, as Noteworthy simply exports one verse after the other ...).

H.M.
98
General Discussion / Re: not loud enough
Quote from: FrankSit –
How can we do it with our Noteworthy Warren, could you educate me how to do it? Could you attached here the sample that you made?
I didnt know about vanBasco - I tried it:
a) Install the player from http://www.vanbasco.com/download.html and start it
b) Export your NWC score as MIDI (File->Export... -> store MIDI at some place)
c) Open file in vanBasco (This Computer -> ... wherever you stored the MIDI
d) Press "PLAY" in the player window
... and off we go!; the text is shown and nicely highlighted.

(It seems to have problems with UTF-8 chars ... my umlauts were garbled ... I can live with this).

H.M.
99
General Discussion / Re: not loud enough
What is your method of recording? Do you create an MP3? - with tools like Audacity etc. you could increase the volume until short before overmodulation ...

H.M.
100
General Discussion / Re: Placing bracket to embrace the 4 Staffs
Quote from: FrankSit –
Do you have any idea what instrument is best for Soprano, Alto, Tennor and Basss?
For our choir, I use

- Viola (for S and A) and Violoncello (for T and B) (both under Strings) for rehearsal/learning voices;
- Voice Oohs (under Ensemble) for the other voices.

I have found that this helps people to hear their voice even when they sing along. Our choir has been more or less happy with my choice over the last 6 or so years.

Other people use saxophone or other wind voices for rehearsal, but making them loud enough, but not too loud is quite a problem, I think.

H.M.