I wanted to report some good news and bad news. The good news is that I've got a working object, which I am calling Synamatic.ms, which works like Melismatic.nw in that you put one copy at the front of your score, and it automatically adds the synalepha where they are needed.
But I said there was also bad news: I didn't check lawrroc's examples closely enough, and the way I coded it, it will currently only draw one synalepha per syllable. One of the example scores has several cases where there are two separate marks in the same lyric syllable. So, with this limitation, I don't think it makes sense to release the code at this time.
I'm trying to think of a way to handle multiple markings per lyric syllable without having to rewrite the entire logic from scratch. But just so you can see what they look like, I'm including a sample.
I'll keep everyone posted as to my progress.
- Mike
PS - in the screen shot, the object looks a bit grainy, but that's only in the editing window. In a print preview, it looks much smoother.
Last post by lawrroc -
Good morning, My mentor Flurmy suggested I show in a complete or partial NWC file what I mean by "synalepha." I'm taking advantage of the graphic symbol Richard suggested to submit a song in which this symbol is used recurringly. With this submission, I thank everyone, Richard first and foremost, and I close the discussion. Happy Sunday.
Lorenzo PS: For translation, please contact Flurmy. It's "stuff" from his homeland!
I think this was a song I scanned/sharpeyed/exported to musicxml/used Niversoft's musicxml to nwctxt and finally to nwc.
It was 5 parts in concert pitch to be transposed for sax quintet - AATTB- with extra transpositions for soprano to cover an alto part and bass sax to cover bari.
I wanted the chord changes on each part in case anyone in the ensemble is brave enough to improvise.
I just wanted a quick and easy way to allow the chords on each staff to agree with the key of the instrument. Using the lyrics line was all I needed since there are no words to consider. While there are user tools to tweak the chord symbols, I was a little rusty and didn't have time to learn these user tools. One day I'll try them. The robot just made the conversion very fast.
It was five parts in concert pitch, with parts 4 and 5 in bass clef. It was simple enough to convert the bass clef systems to treble clef, then transpose all the parts for Bb and Eb instruements. The tenor sax parts have an extra octave , and the bari sax and its alternate bass sax part get yet an extra octave.
Last post by lawrroc -
My mentor Flurmy advised me to show my work. Here are the three pieces mentioned in the previous message. Have a good time, everyone. Lorenzo
Last post by lawrroc -
Good morning, While I wait for some computer scientist on the forum to share their ingenuity in creating the "synalefe" object, I'm updating my tests. The best results are obtained with the text ("x" ---> "horizontal round bracket" pointing upwards). I use the Staff Italic font - Times New Roman, Bold Italic (12.5) and set the percentage to the best (80% or 90%). The font is several screens down, but once you find it and insert it in the first place, you can copy and paste it, as I mentioned. I also discovered that to further separate the two syllables, just add a second underscore to the text. Excellent! You might be wondering why I'm spending so much time on this aspect, which is purely graphical. In the Italian language, almost all words end with a vowel, and so sometimes, for metrical reasons, in a sung text, the last syllable of the first word and the first syllable of the second are joined. This union is indicated by the "synalephe" sign. Some examples from the poem: Ce-le-e-ste_A-i-da... Di Pro-ven-za_il mar, il suol... Quan-do men vo, quan-do men vo so-let-ta per la via, la gen-te so-sta_e mi-ra...
And now, as a pastor said at the end of a three-quarters of an hour sermon, I'll finish so as not to tire you.
Last post by lawrroc -
The solution proposed by Richard is the most practical. You need to find among the various formats (fonts) one in which the "horizontal bracket" character has a curvature that's neither too pronounced nor too open. Then, once the first one is inserted... copy/paste and you're done. The technical solution (object), if implemented, would be automatic, so it's preferable. Thanks. Lorenzo
