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Topic: Problem using repeat bars and DC al Coda (Read 6664 times) previous topic - next topic

Problem using repeat bars and DC al Coda

Good evening one and all,

I have been using NWCv2 for a few weeks now and am greatly impressed. I've now stumbled upon a problem using the DC al Coda.

Please see attatched file.

As you can see, the first phrase covers bars 1 to 4. Bar 4 has a 1st time special ending and and master repeat close. Bar 5 has a 2nd time special ending. At the end of bar 11 is a 'To Coda'. At the end of Bar 13 is a 'DC al Coda'. Bars 14 has 'Coda'.


So, when I play-back this piece I would expect the following bars to be played;

1,2,3,4 (1st time bar repeat)
1,2,3 (2nd time bar continue)
5,6,7,8,9,10,11 (ignore the 'To Coda')
12,13 (DC al Code)
1,2,3,4 (1st time bar repeat)
1,2,3 (2nd time bar continue)
5,6,7,8,9,10,11 (Follow the 'To Coda')
14,15,16,17

However, when I play this I get the following;

1,2,3,4 (1st time bar repeat)
1,2,3 (2nd time bar continue)
5,6,7,8,9,10,11 (ignore the 'To Coda')
12,13 (DC al Coda)
1,2,3 (this is the bit I don't understand)
14,15,16,17

It has jumped from bar 3 to the Coda.

Could some very kind night-owl please explain where I'm going wrong.

!NoteWorthyComposerClip(2.0,Single)
|Tempo|Tempo:100|Pos:7
|Clef|Type:Treble
|Key|Signature:Bb,Eb
|TimeSig|Signature:4/4
|Rest|Dur:4th
|Note|Dur:4th|Pos:0
|Note|Dur:8th,Slur|Pos:-1|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-2^|Opts:Stem=Up,Beam=End
|Note|Dur:4th|Pos:-2
|Bar
|Rest|Dur:4th
|Note|Dur:4th|Pos:0
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-2^|Opts:Stem=Up,Beam=End
|Note|Dur:4th|Pos:-2
|Bar
|Rest|Dur:4th
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=End
|Note|Dur:16th,Slur|Pos:-1|Opts:Stem=Up,Beam=First
|Note|Dur:16th,Slur|Pos:-2|Opts:Stem=Up,Beam
|Note|Dur:8th|Pos:-3|Opts:Stem=Up,Beam=End
|Note|Dur:8th|Pos:-5|Opts:Stem=Up,Beam=First
|Note|Dur:8th,Slur|Pos:-1|Opts:Stem=Up,Beam=End
|Bar
|Ending|Endings:1
|Note|Dur:8th|Pos:-2
|Note|Dur:4th,Dotted|Pos:-2
|Rest|Dur:Half
|Bar|Style:MasterRepeatClose
|Ending|Endings:2
|Note|Dur:8th|Pos:-2|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-2|Opts:Stem=Up,Beam=End
|Rest|Dur:8th,Dotted
|Note|Dur:16th|Pos:-5
|Note|Dur:8th|Pos:-2|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=End
|Note|Dur:8th|Pos:0|Opts:Stem=Down,Beam=First
|Note|Dur:8th|Pos:2|Opts:Stem=Down,Beam=End
|Bar
|Note|Dur:4th|Pos:1
|Rest|Dur:8th,Dotted
|Note|Dur:16th|Pos:1
|Note|Dur:8th|Pos:1|Opts:Stem=Down,Beam=First
|Note|Dur:8th|Pos:0|Opts:Stem=Down,Beam=End
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=First
|Note|Dur:16th,Slur|Pos:-2|Opts:Stem=Up,Beam
|Note|Dur:16th,Slur|Pos:-1|Opts:Stem=Up,Beam=End
|Bar
|Note|Dur:4th|Pos:-2
|Rest|Dur:8th,Dotted
|Note|Dur:16th|Pos:-5
|Note|Dur:8th|Pos:-2|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=End
|Note|Dur:8th|Pos:0|Opts:Stem=Down,Beam=First
|Note|Dur:8th|Pos:2|Opts:Stem=Down,Beam=End
|Bar
|Note|Dur:4th|Pos:1
|Rest|Dur:8th,Dotted
|Note|Dur:16th|Pos:1
|Note|Dur:8th|Pos:1|Opts:Stem=Down,Beam=First
|Note|Dur:8th|Pos:0|Opts:Stem=Down,Beam=End
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=First
|Note|Dur:16th,Slur|Pos:-2|Opts:Stem=Up,Beam
|Note|Dur:16th,Slur|Pos:-1|Opts:Stem=Up,Beam=End
|Bar
|Note|Dur:4th|Pos:-2
|Rest|Dur:8th,Dotted
|Note|Dur:16th|Pos:-5
|Note|Dur:8th|Pos:-2|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=End
|Note|Dur:8th|Pos:0|Opts:Stem=Down,Beam=First
|Note|Dur:8th|Pos:2|Opts:Stem=Down,Beam=End
|Bar
|Note|Dur:4th|Pos:1
|Rest|Dur:8th,Dotted
|Note|Dur:16th|Pos:1
|Note|Dur:8th|Pos:1|Opts:Stem=Down,Beam=First
|Note|Dur:8th|Pos:0|Opts:Stem=Down,Beam=End
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=First
|Note|Dur:8th,Slur|Pos:-1|Opts:Stem=Up,Beam=End
|Bar
|Note|Dur:4th|Pos:-2
|Rest|Dur:8th,Dotted
|Note|Dur:16th|Pos:-5
|Note|Dur:8th|Pos:-2|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=End
|Note|Dur:8th|Pos:0|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-2^|Opts:Stem=Up,Beam=End
|Flow|Style:ToCoda|Pos:8|Wide:Y|Justify:Right
|Bar
|Note|Dur:Whole|Pos:-2
|Bar
|Rest|Dur:Whole
|Flow|Style:DCalCoda|Pos:8|Wide:Y|Justify:Right
|Bar|Style:Double
|Flow|Style:Coda|Pos:8|Wide:Y
|Note|Dur:Half,Dotted|Pos:-2
|Rest|Dur:4th
|Bar
|Rest|Dur:4th
|Rest|Dur:8th,Dotted
|Note|Dur:16th|Pos:-5
|Note|Dur:8th|Pos:-2|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=End
|Note|Dur:8th|Pos:0|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-2^|Opts:Stem=Up,Beam=End
|Bar
|Note|Dur:Half,Dotted|Pos:-2
|Rest|Dur:4th
|Bar
|Rest|Dur:Half
|Note|Dur:8th|Pos:0|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=End
|Note|Dur:4th|Pos:-3
|Bar
|Note|Dur:Whole|Pos:-2
!NoteWorthyComposerClip-End

Re: Problem using repeat bars and DC al Code

Reply #1 –
The standard practice is to use only final endings when employing a D.C. al Coda (or D.S. al Coda, D.C. al Fine, or D.S. al Fine).
NWC follows this practice.
There are exceptions; sometimes there will be an indication "with repetitions," so I wish there were an override for the default.

Re: Problem using repeat bars and DC al Coda

Reply #2 –
I think NWC's logic is wrong.  The piece as notated should have played back as intended, but doesn't.

If you make the 2nd ending a 2nd and 3rd ending, and add a Section Close at the end of it, then through in a Master Repeat Close where the sign is, I think you may get the right result.  I haven't really tested it, but try this example to see if it works.  It's the same piece, with tempo changed and some bars deleted just to play it faster to see if the flow directions work.

!NoteWorthyComposerClip(2.0,Single)
|Tempo|Tempo:300|Pos:7
|Clef|Type:Treble
|Key|Signature:Bb,Eb
|TimeSig|Signature:4/4
|Flow|Style:Segno|Pos:12|Wide:Y
|Rest|Dur:4th
|Note|Dur:4th|Pos:0
|Note|Dur:8th,Slur|Pos:-1|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-2^|Opts:Stem=Up,Beam=End
|Note|Dur:4th|Pos:-2
|Bar
|Rest|Dur:4th
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=End
|Note|Dur:16th,Slur|Pos:-1|Opts:Stem=Up,Beam=First
|Note|Dur:16th,Slur|Pos:-2|Opts:Stem=Up,Beam
|Note|Dur:8th|Pos:-3|Opts:Stem=Up,Beam=End
|Note|Dur:8th|Pos:-5|Opts:Stem=Up,Beam=First
|Note|Dur:8th,Slur|Pos:-1|Opts:Stem=Up,Beam=End
|Bar
|Ending|Endings:1
|Note|Dur:8th|Pos:-2
|Note|Dur:4th,Dotted|Pos:-2
|Rest|Dur:Half
|Bar|Style:MasterRepeatClose
|Ending|Endings:2,3
|Note|Dur:8th|Pos:-2|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-2|Opts:Stem=Up,Beam=End
|Rest|Dur:8th,Dotted
|Note|Dur:16th|Pos:-5
|Note|Dur:8th|Pos:-2|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=End
|Note|Dur:8th|Pos:0|Opts:Stem=Down,Beam=First
|Note|Dur:8th|Pos:2|Opts:Stem=Down,Beam=End
|Bar|Style:SectionClose
|Note|Dur:4th|Pos:-2
|Rest|Dur:8th,Dotted
|Note|Dur:16th|Pos:-5
|Note|Dur:8th|Pos:-2|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=End
|Note|Dur:8th|Pos:0|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-2^|Opts:Stem=Up,Beam=End
|Flow|Style:ToCoda|Pos:8|Wide:Y|Justify:Right
|Bar
|Note|Dur:Whole|Pos:-2
|Bar
|Chord|Dur:4th|Pos:-4,-2,0,1
|Rest|Dur:4th
|Rest|Dur:Half
|Flow|Style:DCalCoda|Pos:17|Justify:Right
|Bar|Style:MasterRepeatClose
|Flow|Style:Coda|Pos:8|Wide:Y
|Note|Dur:Half,Dotted|Pos:-2
|Rest|Dur:4th
|Bar
|Rest|Dur:Half
|Note|Dur:8th|Pos:0|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=End
|Note|Dur:4th|Pos:-3
|Bar
|Note|Dur:Whole|Pos:-2
!NoteWorthyComposerClip-End


Re: Problem using repeat bars and DC al Coda

Reply #3 –
G'day Phil,

Quote from: PhilDixon –
<snip>
As you can see, the first phrase covers bars 1 to 4. Bar 4 has a 1st time special ending and and master repeat close. Bar 5 has a 2nd time special ending. At the end of bar 11 is a 'To Coda'. At the end of Bar 13 is a 'DC al Coda'. Bars 14 has 'Coda'.


So, when I play-back this piece I would expect the following bars to be played;

1,2,3,4 (1st time bar repeat)
1,2,3 (2nd time bar continue)
5,6,7,8,9,10,11 (ignore the 'To Coda')
12,13 (DC al Code)
1,2,3,4 (1st time bar repeat)
1,2,3 (2nd time bar continue)
5,6,7,8,9,10,11 (Follow the 'To Coda')
14,15,16,17

However, when I play this I get the following;

1,2,3,4 (1st time bar repeat)
1,2,3 (2nd time bar continue)
5,6,7,8,9,10,11 (ignore the 'To Coda')
12,13 (DC al Coda)
1,2,3 (this is the bit I don't understand)
14,15,16,17

It has jumped from bar 3 to the Coda.

Could some very kind night-owl please explain where I'm going wrong.

<snip>

To prevent the skip from bar 3 direct to the Coda, you need to make the 2nd time bar a 2nd & Default time bar.

NWC ignores ALL non-local repeats after either a DC or a DS is executed until a Coda is commenced.  Then normal repeat operation resumes.  The Default time bar is a directive to perform this ending after a DC or DS.  If one doesn't exist NWC will jump to either the coda or the section after the last n-time bar it has performed provided the time bar was concluded with a double bar or section close.  There may be other conditions that terminate an n-time bar in this scenario but I haven't checked 'em all out.

Note that this means that after the DC your 1st time bar will not be performed again.

This interpretation is quite rigid and conforms with conventions I was taught as a child, however modern usage does not conform rigidly to this convention and this has been a source of endless frustration to me when transcribing the modern Gospel music my church band plays.

In fact, this feature was the subject of my first ever post in either NWC community areas ('twas the News Group several years ago).

It has also been the subject of a wish list item from me.  Note also that NWC1 follows the same rules.
I plays 'Bones, crumpets, coronets, floosgals, youfonymums 'n tubies.

Re: Problem using repeat bars and DC al Coda

Reply #4 –
I'm also having this problem.
However, however, even if there are some bugs (such as mis-recognizing
special endings), I consider the usage as below.

This is a text-editor-like and MML-editor-like editor.
So, at this moment, I recommend the choice of your use.

1) Editing Playable (as Sequencer):
By using "Local Repeat", you can simplify repeated sequence such as Drums.
Some staves is shorter and others longer.  This is the way of MML-like editing.
Anyway playback should be correct as you expect.

2) Editing Printable (as Score Processor):
Of course you write Full part and staves, but sometimes playback is weird.

"Cost Performance" is pretty good.  Now, both usage can't be done at the
same time.  So I recommend to choose the one of usage.  Otherwise, we
would need more expensive editor.

Which one do you prefer for a score you're making now?

Re: Problem using repeat bars and DC al Coda

Reply #5 –
Editing Printable (as Score Processor) is my preference.  I use the midi playback feature only to find errors.

Re: Problem using repeat bars and DC al Coda

Reply #6 –
Editing Printable (as Score Processor) is also my preference, however I see no real reason why both cannot be achieved.
I plays 'Bones, crumpets, coronets, floosgals, youfonymums 'n tubies.
 

Re: Problem using repeat bars and DC al Coda

Reply #7 –
Always Editing Printable (as Score Processor) for me.  For me, printed music is a complex graph ("chart" for Excel users), with time along the X-axis.  When composing/arranging/editing, I usually need to know what several parts are doing at any given time.  The Editing Playable (as Sequencer) doesn't allow you to check easily.  Here's an example.  See how the final key/time change of the bottom staff aligns with a different one in the middle staff!  Also, with the playback, if you're following the notes on the top staff, by the time you get to the end, you can no longer see the bottom staff (unless you have your very wide screen at zoom level 2 - 33%).  Apologies for the amount of screen space the Clips take!

Top Staff
Quote
!NoteWorthyComposerClip(2.0,Single)
|Clef|Type:Treble
|TimeSig|Signature:Common
|Tempo|Tempo:144|Pos:9
|Rest|Dur:4th
|Note|Dur:8th|Pos:-4|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-3|Opts:Stem=Up,Beam=End
|Note|Dur:8th|Pos:-2|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=End
|Note|Dur:4th|Pos:-2
|Bar
|Note|Dur:4th|Pos:1
|Note|Dur:8th|Pos:0|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=End
|Note|Dur:8th|Pos:-2|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=End
|Note|Dur:4th|Pos:-2
|Bar
|Note|Dur:4th|Pos:1
|Note|Dur:8th|Pos:0|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=End
|Note|Dur:4th|Pos:-2
|Note|Dur:4th|Pos:-4
|Bar
|Note|Dur:4th|Pos:-2
|Note|Dur:8th|Pos:3|Opts:Stem=Down,Beam=First
|Note|Dur:8th|Pos:2|Opts:Stem=Down,Beam=End
|Note|Dur:4th|Pos:1
|Rest|Dur:4th
|Bar
|Rest|Dur:4th
|Note|Dur:8th|Pos:-4|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-3|Opts:Stem=Up,Beam=End
|Note|Dur:8th|Pos:-2|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=End
|Note|Dur:4th|Pos:-2
|Bar
|Note|Dur:4th|Pos:1
|Note|Dur:8th|Pos:0|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=End
|Note|Dur:8th|Pos:-2|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=End
|Note|Dur:4th|Pos:-2
|Bar
|Note|Dur:4th|Pos:1
|Note|Dur:8th|Pos:0|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=End
|Note|Dur:4th|Pos:-2
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:0|Opts:Stem=Up,Beam=End
|Bar
|Note|Dur:Half,Dotted|Pos:1
|Rest|Dur:4th
|Bar|Style:Double
|Key|Signature:Bb
|TimeSig|Signature:6/8
|Note|Dur:4th|Pos:1
|Note|Dur:8th|Pos:1
|Note|Dur:4th|Pos:1
|Note|Dur:8th|Pos:b0
|Bar
|Note|Dur:4th|Pos:-1
|Note|Dur:8th|Pos:-3
|Note|Dur:4th,Dotted|Pos:-3
|Key|Signature:C|Visibility:Never
|Bar|Style:Double
|Key|Signature:F#
|TimeSig|Signature:3/4
|Note|Dur:8th|Pos:-2|Opts:Stem=Down,Beam=First
|Note|Dur:8th|Pos:2|Opts:Stem=Down,Beam=End
|Note|Dur:8th|Pos:1|Opts:Stem=Down,Beam=First
|Note|Dur:8th|Pos:2|Opts:Stem=Down,Beam=End
|Note|Dur:8th|Pos:2|Opts:Stem=Down,Beam=First
|Note|Dur:8th|Pos:-2|Opts:Stem=Down,Beam=End
|Bar
|TimeSig|Signature:6/8
|Note|Dur:8th|Pos:-2|Opts:Stem=Down,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Down,Beam
|Note|Dur:8th|Pos:2|Opts:Stem=Down,Beam=End
|Note|Dur:8th|Pos:4|Opts:Stem=Down,Beam=First
|Note|Dur:8th|Pos:3|Opts:Stem=Down,Beam
|Note|Dur:8th|Pos:2|Opts:Stem=Down,Beam=End
|Key|Signature:C|Visibility:Never
|Bar|Style:Double
|Key|Signature:Bb
|TimeSig|Signature:2/4
|Note|Dur:8th|Pos:1|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-3|Opts:Stem=Up,Beam=End
|Note|Dur:8th|Pos:-1|Opts:Stem=Down,Beam=First
|Note|Dur:8th|Pos:1|Opts:Stem=Down,Beam=End
|Key|Signature:C|Visibility:Never
|Bar|Style:Double
|Key|Signature:F#
|TimeSig|Signature:3/4
|Note|Dur:4th|Pos:2
|Note|Dur:8th|Pos:0|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=End
|Note|Dur:8th|Pos:0|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=End
|Bar
|Note|Dur:4th|Pos:-2
|Note|Dur:8th|Pos:0|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=End
|Note|Dur:8th|Pos:0|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=End
|Bar
|Note|Dur:4th|Pos:2
|Note|Dur:8th|Pos:0|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=End
|Note|Dur:8th|Pos:0|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=End
|Bar
|Note|Dur:4th|Pos:-2
|Note|Dur:8th|Pos:0|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam=End
|Note|Dur:4th|Pos:0
!NoteWorthyComposerClip-End

Middle Staff
Quote
!NoteWorthyComposerClip(2.0,Single)
|Clef|Type:Bass
|TimeSig|Signature:Common
|Bar|Style:LocalRepeatOpen
|Note|Dur:4th|Pos:3
|Note|Dur:4th|Pos:1
|Note|Dur:Half|Pos:3
|Bar
|Note|Dur:4th|Pos:1
|Note|Dur:4th|Pos:3
|Note|Dur:Half|Pos:6
|Bar|Style:LocalRepeatClose|Repeat:3
|Note|Dur:4th|Pos:-1
|Note|Dur:4th|Pos:1
|Note|Dur:4th|Pos:3
|Note|Dur:4th|Pos:-1
|Bar
|Note|Dur:Half,Dotted|Pos:1
|Rest|Dur:4th
|Bar|Style:Double
|Key|Signature:Bb
|TimeSig|Signature:6/8
|Note|Dur:8th|Pos:4|Opts:Stem=Down,Beam=First
|Note|Dur:8th|Pos:3|Opts:Stem=Down,Beam
|Note|Dur:8th|Pos:4|Opts:Stem=Down,Beam=End
|Note|Dur:8th|Pos:1|Opts:Stem=Down,Beam=First
|Note|Dur:8th|Pos:2|Opts:Stem=Down,Beam
|Note|Dur:8th|Pos:3|Opts:Stem=Down,Beam=End
|Bar
|Note|Dur:4th,Dotted|Pos:6
|Note|Dur:4th,Dotted|Pos:4
|Key|Signature:C|Visibility:Never
|Bar|Style:Double
|Key|Signature:F#
|TimeSig|Signature:3/4
|Note|Dur:4th,Dotted|Pos:5
|Note|Dur:8th|Pos:4
|Note|Dur:4th|Pos:3
|Bar
|TimeSig|Signature:6/8
|Note|Dur:4th|Pos:5
|Note|Dur:8th|Pos:5
|Note|Dur:4th|Pos:6
|Note|Dur:8th|Pos:5
|Key|Signature:C|Visibility:Never
|Bar|Style:Double
|Key|Signature:Bb
|TimeSig|Signature:2/4
|Note|Dur:8th|Pos:4|Opts:Stem=Down,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Down,Beam=End
|Note|Dur:8th|Pos:2|Opts:Stem=Down,Beam=First
|Note|Dur:8th|Pos:4|Opts:Stem=Down,Beam=End
|Key|Signature:C|Visibility:Never
|Bar|Style:Double
|Key|Signature:F#
|TimeSig|Signature:3/4
|Bar|Style:LocalRepeatOpen
|Note|Dur:4th|Pos:5
|Note|Dur:Half|Pos:7
|Bar|Style:LocalRepeatClose|Repeat:4
!NoteWorthyComposerClip-End

Bottom Staff
Quote
!NoteWorthyComposerClip(2.0,Single)
|Clef|Type:Bass
|TimeSig|Signature:Common
|Bar|Style:LocalRepeatOpen
|Note|Dur:4th|Pos:-8
|Note|Dur:4th|Pos:-4
|Note|Dur:4th|Pos:-8
|Note|Dur:4th|Pos:-4
|Bar|Style:LocalRepeatClose|Repeat:7
|Note|Dur:4th|Pos:-8
|Note|Dur:4th|Pos:-4
|Note|Dur:4th|Pos:-8
|Rest|Dur:4th
|Bar|Style:Double
|Key|Signature:Bb
|TimeSig|Signature:6/8
|Note|Dur:4th|Pos:-5
|Note|Dur:8th|Pos:2
|Note|Dur:8th|Pos:-1|Opts:Stem=Down,Beam=First
|Note|Dur:8th|Pos:0|Opts:Stem=Down,Beam
|Note|Dur:8th|Pos:1|Opts:Stem=Down,Beam=End
|Bar
|Note|Dur:8th|Pos:2|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-1|Opts:Stem=Up,Beam
|Note|Dur:8th|Pos:-3|Opts:Stem=Up,Beam=End
|Note|Dur:4th,Dotted|Pos:-5
|Key|Signature:C|Visibility:Never
|Bar|Style:Double
|Key|Signature:F#
|TimeSig|Signature:3/4
|Note|Dur:4th|Pos:-4
|Note|Dur:4th|Pos:-3
|Note|Dur:4th|Pos:-2
|Bar
|TimeSig|Signature:6/8
|Note|Dur:4th|Pos:0
|Note|Dur:8th|Pos:3
|Note|Dur:4th|Pos:0
|Note|Dur:8th|Pos:-4
|Key|Signature:C|Visibility:Never
|Bar|Style:Double
|Key|Signature:Bb
|TimeSig|Signature:2/4
|Note|Dur:8th|Pos:-5|Opts:Stem=Up,Beam=First
|Note|Dur:8th|Pos:-3|Opts:Stem=Up,Beam=End
|Note|Dur:8th|Pos:-1|Opts:Stem=Down,Beam=First
|Note|Dur:8th|Pos:2|Opts:Stem=Down,Beam=End
|Key|Signature:C|Visibility:Never
|Bar|Style:Double
|Key|Signature:F#
|TimeSig|Signature:3/4
|Bar|Style:LocalRepeatOpen
|Note|Dur:Half,Dotted|Pos:3
|Bar
|Note|Dur:Half,Dotted|Pos:-4
|Bar|Style:LocalRepeatClose|Repeat:2
!NoteWorthyComposerClip-End

Re: Problem using repeat bars and DC al Coda

Reply #8 –
Your example sure illustrates what you say, Ewan.  I haven't used the feature much (if at all).  While I can see the feature being useful in simpler forms, I think I'd find the complicated structure in your example very difficult to proofread. 

Since NWC files are so very small, and it's so easy to copy a few bars many times, is there any good reason to use local repeats extensively other than just personal preference? 



Re: Problem using repeat bars and DC al Coda

Reply #9 –
G'day Ewan,
Quote from: Ewan Harwood –
Always Editing Printable (as Score Processor) for me.  For me, printed music is a complex graph ("chart" for Excel users), with time along the X-axis.  When composing/arranging/editing, I usually need to know what several parts are doing at any given time.  The Editing Playable (as Sequencer) doesn't allow you to check easily.
<snip>

Hmm, I think we are interpreting Hiroki's statements differently.

My contention was simply that we should be able to notate some of the more modern usages of special endings etc. and still have them play back correctly as expected, even though that no longer necessarily complies with older conventions.

I would NEVER want to change the NWC user interface.  Its ease of use is what has made me such an avid supporter, nor would I consider using it the way you have demonstrated for the very reasons you describe unless there were exceptional circumstances.
I plays 'Bones, crumpets, coronets, floosgals, youfonymums 'n tubies.

Re: Problem using repeat bars and DC al Coda

Reply #10 –
Ewan-san,
Thank you for your score.  It's an excellent demo of the usage of editing playable.  As I've been writing MMLs, recent one is like this.
(Now I prefer editing Printable, as have been writing scores (not composition) with pencil and rulers on my schooldays.)

David-san,
Thanks.  This example is different than our usage, editing printable score.  But is also a feature of the software.  If manupilators print a score using MIDI data, it should like the example.  Repeat bug is not so matter for the example.

Lawrie-san,
Thanks for your explanation.  Yes, that's right.  Notations software around US$50-, NoteWorthy should be the best.  While the bugs is being handled by the programmers, we consider better and own way of use.  When a subscribe get too much tricky, it's the time to handle, I think.

Anyway, Repeat function has some bugs.  Expecting fixed in a future.
Let's find more tips & tricks, and even bugs, too.

I am Very Appreciated to enjoy this discuss and I got learned much more!

Re: Lyrics not following "D.S. al capo"

Reply #11 –
Folks,
    I realize most of you settled your issues 6 months ago, but you folks appear to have the most experience with this issue.

    My score "plays" correctly, but the 2nd verse of the lyrics don't make the "break" at the "To Coda" and then re-commence at "Coda".  Should I be starting another verse at the Coda -- would that solve my issue?

Thanks in advance.

Jill

Re: Problem using repeat bars and DC al Coda

Reply #12 –
G'day Jill,
I think I know what you're asking...

I guess a question is in order: Do you know about using the <_> underscore character "take up" space in the lyric editor so that words appear where you want them?

There are 2 special characters in the lyric editor, the dash or hyphen <-> and the underscore <_>

Their functions are:
The dash is used to break words into syllables that appear under consecutive notes.

The underscore is used to prevent anything showing under a note.

The most common usage for the latter is when you have multiple verses for a section and the syllabic content changes between verses.  Where one verse has a syllable and another does not, you place an underscore in the verse that "skips" a syllable to "take up" the note.

You can also use this to space things out...

If you don't mind the words of the second verse that belong in the coda appearing at the same vertical position as the 1st verse, then you can just tag them onto the end of the first verse.  If this is not aceptable, then simply add underscore characters in the second verse (separated by spaces) to use up the notes where you don't want 2nd verse words to appear.

Please Note: the lyric editor completely ignores flow control as far as syllable placement is concerned (thank goodnes!).
I plays 'Bones, crumpets, coronets, floosgals, youfonymums 'n tubies.

Re: Problem using repeat bars and DC al Coda

Reply #13 –
Quote
The underscore is used to prevent anything showing under a note.

This is true if the underscore appears by itself (as if it were the word/syllable), so it effectively serves as a blank placeholder for a syllable.  I would also add, however, that the underscore also lets you put two words under the same note, but displays a space between them.

For example, if you have five verses, three of which have a single word under a quarter note, one does not have a word (or syllable), and one has two words.  Instead of using two tied eighth notes, for example, you might just keep the quarter note, but use the underscore to fit everything under that one note

So your lyrics might look like:
 ♩
I'm       <-- The word "I'm appears under the quarter note
Your     <-- The word "Your" appears under the quarter note
_         <-- No word appears under the quarter note
It's      <-- The word "It's" appears under the quarter note
I_am    <-- The words "I am" (with a space between the two) appear under the quarter note

Hope that's clear as mud. :)
John

Re: Problem using repeat bars and DC al Coda

Reply #14 –
Oops, thanks John,
I confess I'd forgotten about that function of the underscore.
I plays 'Bones, crumpets, coronets, floosgals, youfonymums 'n tubies.