!NoteWorthyComposerClip(2.751,Single)
|Clef|Type:Treble
|Key|Signature:F#|Tonic:G
|Tempo|Base:Half|Tempo:200|Pos:10
|TimeSig|Signature:AllaBreve
|Note|Dur:Whole|Pos:-2
|Bar
|Note|Dur:Whole|Pos:-1
|Bar
|Note|Dur:Whole|Pos:0
|Bar
|Note|Dur:Whole|Pos:1
|Bar|Style:Double
|Key|Signature:F#,C#|Tonic:D
|Note|Dur:Whole|Pos:1
|Bar
|Ending|Endings:1
|Note|Dur:Whole|Pos:2
|Bar|Style:Double
|Ending|ClosedBracket:Y
|Key|Signature:F#|Tonic:G
|Bar|Style:MasterRepeatClose
|Ending|Endings:2
|Key|Signature:F#,C#,G#|Tonic:A
|Note|Dur:Whole|Pos:-2
|Bar|SysBreak:Y
|Note|Dur:Whole|Pos:-1
!NoteWorthyComposerClip-End
- Playback is nonsense. It plays to the end of the first time bar, and then plays seven times up to the start of the FTB.
- Printed output has the courtesy key signature (G) on the second stave instead of the second time bar key signature (A)
Both problems disappear if you replace the double bars with singles. Interestingly Behind Bars recommends this anyway, but Alfred and ABRSM both insist that the double bar is correct.
!NoteWorthyComposerClip(2.751,Single)
|Clef|Type:Treble
|Key|Signature:F#|Tonic:G
|Tempo|Base:Half|Tempo:200|Pos:10
|TimeSig|Signature:AllaBreve
|Note|Dur:Whole|Pos:-2
|Bar
|Note|Dur:Whole|Pos:-1
|Bar
|Note|Dur:Whole|Pos:0
|Bar
|Note|Dur:Whole|Pos:1
|Bar|Style:Double
|Key|Signature:F#,C#|Tonic:D
|Note|Dur:Whole|Pos:1
|Bar
|Ending|Endings:1
|Note|Dur:Whole|Pos:2
|Bar|Style:Double
|Ending|Endings:1|HideText:Y|Visibility:Never
|Key|Signature:F#|Tonic:G
|Bar|Style:MasterRepeatClose
|Ending|Endings:2
|Key|Signature:F#,C#,G#|Tonic:A
|Note|Dur:Whole|Pos:-2
|Bar|SysBreak:Y
|Note|Dur:Whole|Pos:-1
!NoteWorthyComposerClip-End
fixes playback.
IMHO, a double bar should act exactly like a single bar in playback. They're just landmarks - they don't alter the flow. Is there a reason that NWC treats them differently, or is this just a programming oversight?