Last post by hmmueller -
... very quickly scrolling through it, four observations:
a) Beaming is wrong at a number of places (which is of course not ok, because it kills the visual representation of beats); one example is on p.1066, but there are at least 10 more. In arrangements of mine, I would, for a final run, remove all beams for all notes; and let NWC rebeam them (Alt-T-B). But this will produce un-nice beams at some places which would have to be modified manually each time one does that - which I mark with my EditMark.hmm objects so that I can find them later (one can also use a "remark" staff that is never printed, or things alike).
b) Also, stem orientation is sometimes inconsistent. That's much less of a problem than a), but if it happens inside a measure (which I saw), it also makes quick recognition of identical notes harder, especially with octaves (which I saw differently oriented at places) or chords.
c) In the very last piece, "Curtain Call", too much is wrong: c1) There are no instruments; c2) only the piano and whatever is above it (cimbalon?) are notated in the "key" of c flat, although all the e-flats are then all "naturalized". c3) In the line above (vibraphone?), what is notated as a-sharp and g-sharp should be b-flat and a-flat. Similar problems are in the viola(?) and the second instrument from above. c4) In the violin(?), in the 4th measure, the notated d-sharp should be an e-flat; likewise, in the clarinet(?) above, e-sharp should be f-flat. c5) "poco a poco (tempo)" makes no sense. Is it "poco a poco accel."? and is the indicated tempo the start tempo? - "poco a poco accel. from (tempo)" would make more sense to me.
Although I have millions of things to do, it's itching me to give this a try. I'd like to have the NWC files for it, for running various tools (like my RangePitchMarker.hmm for range and note tests); or maybe some heuristics for enharmonics spelling checking (like c3) and c4) above).
d) You would have to create another few hundred pages of voices for this. Do you have a plan (organization and NWC-wise) for that?
The only problem with using Channel 10 is that it may already be being used in the original piece. <snip>
Shouldn't matter. I use channel 10 up to around 40 times in any single score, depending on what percussion sounds I need.
This works because typically you only need to assign one "Instrument" to the channel, and each percussion sound is accessed via different "notes" on the percussion staves.
One of the ways this works for me is I can notate a drumkit using standard staff positions for each sound by putting each drum/cymbal/etc. on its own staff, spacing as necessary with rests (which I move off the page using Global_Mod) and layering. The other thing that's needed for this to work is each staff needs it's own transposition.
There is a lot of work using this method, but you end up having a printable part that both looks correct to the player and sounds correct on playback. Attached are 2 examples. One for a drum kit, and the other for a full Concert Band implementation with notation exemplars at the start of each stave/instrument.
All staves use channel 10, all at the same time.
The only real drawback is every instance of a staff using channel 10 will use the volume setting of the last instance encountered by NWC on playback, usually the bottom percussion staff unless there is an Instrument change somewhere that changes the volume setting. To get around this I generally set all staves to a volume of 127 (the default) and if I need to compensate for differing volume levels I cheat and use "Print|Never" dynamic markings to get my desired result.
<edit> Another technique to consider for concert band (orchestral?) percussion is the use of instrument changes - if you're using a single staff (often single line) for some, or even all, of your percussion, then when there is an instrument change you can use a transposition in the instrument change element to get your preferred note location on the staff for that instrument. Next instrument change, different transposition. </edit>
Last post by fathafluff -
The only problem with using Channel 10 is that it may already be being used in the original piece. I used Taiko Drum, bass clef bottom space (A) transposed -10 for a bass drum beat in Black Bear, a fife and drum piece I put into the Scriptorium in April 2003, when I was just learning NWC. https://nwc-scriptorium.org/db-index.php?by=submitter&t=Bub%2C+William
Last post by gileshowe@hotmail.com -
I have written a musical called SOVIET ZION. I have made an 11 piece orchestration of it in NWC and am seeking an arranger/engraver/orchestrator to double check my work, to fix any engraving snafus to make sure that what I have written is playable by actual musicians. Please visit www.sovietzion.com to find out more about the show , kindly email me directly at gileshowe@hotmail.com with a quote if you are interested to polish these orchestrations. The pdf of the score is available at the following link, the score starts half way through the document:
The Scriptorium has been updated with works submitted by :
John Hooper Nunc Dimittis (Holst) Richard Woodroffe Die Herbstnacht D404 (Schubert)
If you would like to be notified every time the Scriptorium is updated, please send an e-mail requesting Scriptorium Update notification to nwcscriptorium "at" gmail "dot" com
Last post by hmmueller -
Like this? (layered staff, with stemless notes with blank noteheads; and a lyrics line for the beat numbers, which I put above so that it does not conflict with the lyrics to be sung).
Last post by AndyL -
Hi. I am planning teaching my choir a piece with an irregular rhythm. It would help if I could print the beat number in each bar to help with the counting! Does anyone know if this is possible?
Maybe have an option to use the drum kit and MIDI channel 10 for the staff.