Last post by lawrroc -
Thanks Mike, the solutions you proposed are technically and graphically excellent. Grace notes are a tool I never consider enough. Furthermore, the fact that their "invisibility" does not take up space, does not create problems with time signature. Personally I prefer the first alternative. Lorenzo
Last post by Mike Shawaluk -
Here is an alternate version, that uses visible grace notes with zero-length stems and blank space noteheads, which doesn't require spacers.
Last post by Mike Shawaluk -
The foillowing sample uses muted invisible grace notes as the destination of the ties, which I think gives a better appearance than Slur.ms. I added spacers before and after the grace notes to stretch things out, since invisible grace notes take up no space.
Last post by lawrroc -
I am transcribing a piece in which the notes shown in the attachment appear in the first bars. These are ties (or slurs?) that are missing the second note. I ask the musicians: what does that writing mean? I can only say that when those measures are performed the note becomes "blurred". How to make it in NWC? Up to now the only "decent" result is with Slur.ms", then working on the length and height of the ligature line. Kind regards to you. Lorenzo
Last post by David Palmquist -
Sorry to be late to the party. I don't check the forum often.
Roycee :
Quote
I then import it into NWC if it's in the key I want or import into Musescore first and Transpose it into a simpler key. (For example, one bassline I would really like to master is in F# Major, 6 sharps and it gave me trigger thumb for a period because it involves loads of stretching - one click and it's in F or G!) I can then play in NWC where it's nice and large on my 24" monitor, or view like a page of sheet music with sound in Musescore
Transposing in NWC is extremely easy. Select the staff, then Alt-T T. It's only a couple of key strokes. Make sure the staff has a key signature; if the staff is in C major you may not have remembered to insert a C major key signature. It won't show on print, but it must be there to give the program something to change to your new key signature.
To view a page of music, use Print Preview Alt F V. You won't get playback in Print Preview, but you can see what the staff would look like when printed.
Last post by Warren Porter -
In the example you gave, the G on the E string would sound two octaves higher than written.
For open strings, touching the string in the middle creates a note an octave higher than the open string. Touching a node that divides the string into thirds creates a note a 5th above the next octave. From 1st position, this would be the 4th finger and stopping (pressing it into the fingerboard here, normal playing) would give a pitch a 5th above the open string, but just touching it would send it an octave higher. Dividing the string into 4 sections (the node is 3rd finger from first position) would raise the pitch two octaves from the open string.
There are also artificial harmonics where the player would stop with the first finger but barely touch the string with the 4th finger. This produces a pitch two octaves higher than if only the first finger was used.
Dividing the string into more than five parts can be done, but I have never seen it in real music. Playing more than two notes in a chord produces a rolled or arpeggiated chord, two notes at a time.
... the second finger (2) is on the E string on the G position and the fourth finger (4) touches lightly the string on the C position so as to create the harmonic. If I didn't miscalculate, the latter generates a G two octaves higher... but I'm asking for confimation!
Elaine Gould, on p. 420, second entry ("perfect fourth"), says so!
