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On one of my imported XML scores, Notion has put the top violin voice underneath the basses. I hoped that I might be able to highlight the score and then step it up to the desired location using the arrow keys, but that didn't work out.

Then I got the totally brilliant idea of creating a new staff at the top of the score, cutting and pasting the entire line into the new staff, and then deleting the one in the wrong place. So I put the orange bar above the system and entered a new violin voice, which Notion promptly dropped to the bottom. Then I tried just a generic staff with a treble clef and got the same result.

What am I missing? (again)

--Bob
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by michaelmyers1 on Thu May 28, 2020 9:36 pm
I've had the same problem with Notion not creating new staves where it ought. I've reported it to the powers that be.

Easy fix is to go to Score Setup, grab a staff and then drag it to the correct location as indicated by the orange highlight and a little + sign in the middle of the staff (assuming that you're using the desktop version).

iMac (Retina 5K 27", 2019) 3.6 ghz I9 8-core 64 gb RAM Fusion Drive
macOS Catalina 10.15 with small AOC monitor for additional display
2 - 500 gb + 1 tb external SSD for sample libraries
M Audio AirHub audio interface
Nektar Panorama P1 control surface
Nektar Impact 49-key MIDI keyboard
Focal CMS40 near-field monitors
JBL LSR310S subwoofer
Notion 6 + Studio One 5 Pro

http://www.tensivity.com
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by robertspear1 on Fri May 29, 2020 6:02 am
Michael--

I'm not sure if I grabbed the staff correctly. I was able to get it to turn all grey or all blue, but when I clicked on the "+" sign in the orange bar (yes, I am using the desktop version), the selection color turned off and repositioning the orange bar didn't do anything.

I'm going to make a newbie's stab at uploading the file in all its gory . . . oops!, I mean, "glory", of course. Not sure if it will make the trip, but if you don't mind curdling your coffee, would you mind taking a look at it to see if it will listen to you?

No biggie, otherwise. I still have the original XML file and I could take another whack at this from the beginning.

--Bob

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Ricercare a 6.notion
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by michaelmyers1 on Sat May 30, 2020 8:40 pm
Works for me, I think you're not getting the clicks quite right...

1. Go to Score Setup

2. Click the staff you want to move to select it. It will turn blue.

3. Click on the staff again and drag (without releasing) to the place you want to move it to (hover over the space in between staves). The new position will turn orange and a little + sign will appear in the middle of the staff.

4. Release the mouse.


iMac (Retina 5K 27", 2019) 3.6 ghz I9 8-core 64 gb RAM Fusion Drive
macOS Catalina 10.15 with small AOC monitor for additional display
2 - 500 gb + 1 tb external SSD for sample libraries
M Audio AirHub audio interface
Nektar Panorama P1 control surface
Nektar Impact 49-key MIDI keyboard
Focal CMS40 near-field monitors
JBL LSR310S subwoofer
Notion 6 + Studio One 5 Pro

http://www.tensivity.com
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by robertspear1 on Sun May 31, 2020 6:18 am
Works for me now, too, Michael-- :oops:

I found the "problem" is that Notion gets stingy with active click areas when you go above a staff. I was able to move the line easily between any of the others on the score, but failed whenever I tried to put it above the top line. The "secret" is to put the mouse pointer just above the staff, and then the move occurs smoothly.

I have noticed this during note entry and should have made the connection. When I want to write the cellos or violins into high positions, Notion will only let me go about two ledger lines above the staff before placing the notes on the staff above. I then have to enter the note below my desired position and move it up in a separate series of keystrokes. Kinda clunky, but it does get the job done. I'm sure there must be a better way of doing this.

I much appreciate your help, especially since you do a lot of writing for classical strings. I do, too, and worse! If you are interested to see and hear the instruments for which the Bach was arranged, you can do that here;

https://www.youtube.com/watch?v=IGZl3BN3aZo

--Bob
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by Surf.Whammy on Sun May 31, 2020 9:15 am
I downloaded the NOTION score and it works nicely on the 2012 MacBook Pro running macOS Catalina 10.15.4 . . . :)

THOUGHTS

After listening to it a few times with native NOTION instruments, I decided to see how it sounds with EWQL virtual instruments from ComposerCloud, which is a new addition to the virtual instrument library here in the sound isolation studio . . .

While my replacement Mac Pro (Early 2008) is being shipped, I am using a MacBook Pro (Retina, 13-inch, Late 2012); so I had to load a bunch of digital music production software (virtual instruments and effects plug-ins, along with ScreenFlow [Telestream]), which took a while, as did downloading several of the EWQL instruments and sampled-sound libraries . . .

ScreenFlos does not appear to like macOS Catalina; so devising a workaround took a few hours; and the broadband cable stopped working for a few hours which essentially makes it impossible to do much of anything because the various software licenses require web connectivity . . .

[NOTE: I used to hate USB security dongles, but now I am starting to like them . . . :roll: ]

I started doing the EWQL version in NOTION, but with ScreenFlow not capturing the audio I switched to the "ReWire MIDI Strategy", which took another hour or so . . .

ScreenFlow doesn't capture sound from Studio One Professional and, apparently, a few other Digital Audio Workstation (DAW) applications; hence the strategy to export the audio (a.k.a. "Mixdown") from Studio One Professional and then to use it as the audio for the ScreenFlow video capture . . .

All told, this took about 18 hours, which is fine with me . . .

About half the time was focused on downloading software, sampled-sound libraries, and activating licenses . . .

Some of the IK Multimedia software does not work in macOS Catalina; but T-RackS 5 Custom Shop works, hence my "goto" effects plug-ins work; and the FabFilter Software Instruments effects plug-ins work; so everything is good . .

After studying the NOTION score, I removed all the dynamic marks, which makes it easier for me to control dynamics and all that stuff via effects plug-ins . . .

[NOTE: My general perspective is based on a few technical observations, one of which is that dynamic marks in NOTION music notation do not do what nearly everyone thinks they do. NOTION generates MIDI based on music notation, and instead of the sampled sounds actually being played in specific dynamics, what happens is that the MIDI value for the volume is changed, which mostly adds clicks and pops rather than doing something useful; so I do not use dynamic marks in NOTION . . . ]

Once I switched the native NOTON instruments to EWQL instruments, it became obvious that NOTION was overloaded, hence the reason to switch to using ReWire MIDI staves in NOTION and hosting the EWQL instruments in Studio One Professional, which does two things:

(1) It focuses NOTION on doing what it needs to do, which is to generate MIDI from music notation--this MIDI in turn being used by Studio One Professional to control the VSTi virtual engines (EWQL Play in this instance) . . .

(2) It focuses Studio One Professional on what it needs to do, which is handling the audio, effects plug-ins, producing, mixing and recording . . .

The EWQL VSTi virtual Instrument ("Play") works very nicely in Studio One Professional and has all the required busing and routing functionality required in the "ReWire MIDI Strategy" . . .

I tend to like legato, vibrato, slurs, and portamento (which apparently is another type of slur), so these are the types of instruments I selected from a rather vast assortment in EWQL . . .

One of my arranging, producing, and mixing rules is that everything tends to ride on bass; so I added a Höfner Beatle Bass to double the bowed contrabass . . .

I added a Gypsy violin to double the solo violin; and to add texture to the viola and to make it easier to hear distinctly, I added a Beatles lead guitar run through an Ace Frehley (KISS) guitar rig via Amplitube, which is a bit wacky but it works . . .

[NOTE: This is mixed with studio-quality headphones (SONY MDR-7506, a personal favorite); so it's best enjoyed when listening with headphones or earbuds. For reference, I did not alter the EWQL instrument panning, since I like the way it places the instruments in the sonic landscape, although I did enhance a few instruments with Timeless 2 (FabFilter Software Instruments) echoes and ambience. One of the overall goals is that it should be easy to watch the music notation and identify what the various instruments are doing. If you can't hear it, then here in the sound isolation studio it's noise and doesn't need to be there . . . :reading: ]

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I have no idea what the tempo should be, so I used the Studio One Professional default tempo (120 beats per minute) . . .

Lots of FUN! :)

The Surf Whammys

Sinkhorn's Dilemma: Every paradox has at least one non-trivial solution!
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by michaelmyers1 on Sun May 31, 2020 1:50 pm
Surf, this piece is by Bach, not Mozart. It's the second movement (Ricercata) of the Fugue from his "Musical Offering," BWV 1079/5.

Knowing your work here, if you aren't familiar with Fugues, I think you would enjoy the form. It seems at first quite simple (start a line that then is joined by the same line a fourth below or a fifth above the original), yet once you try it you soon find it nearly impossible to keep the thing going. It's said that Bach could sit at his well-tempered clavier and extemporize Fugues of 20 minutes or more out of thin air.

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The tempo sounds fine to me, you might like to listen to this arrangement by Anton Webern, about the same tempo. Webern uses the German composition technique popular at the time he wrote this (1934-35) where the motif is passed from one instrument or section to another. Webern's intent was to bring out the motifs of the music and make them more comprehensible to the listener, bring the music closer to the audience. He got a lot of grief for it at the time, since it wasn't "pure" and was an interpretation of the old German Master. Imagine the political position he put himself in by taking liberties with Bach in newly-Nazi Austria. By 1940, Webern had no income. The piece here wasn't published until 1955, 20 years after he wrote it.

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Last edited by michaelmyers1 on Sun May 31, 2020 6:13 pm, edited 4 times in total.

iMac (Retina 5K 27", 2019) 3.6 ghz I9 8-core 64 gb RAM Fusion Drive
macOS Catalina 10.15 with small AOC monitor for additional display
2 - 500 gb + 1 tb external SSD for sample libraries
M Audio AirHub audio interface
Nektar Panorama P1 control surface
Nektar Impact 49-key MIDI keyboard
Focal CMS40 near-field monitors
JBL LSR310S subwoofer
Notion 6 + Studio One 5 Pro

http://www.tensivity.com
User avatar
by michaelmyers1 on Sun May 31, 2020 1:54 pm
robertspear1 wroteWhen I want to write the cellos or violins into high positions, Notion will only let me go about two ledger lines above the staff before placing the notes on the staff above. I then have to enter the note below my desired position and move it up in a separate series of keystrokes. Kinda clunky, but it does get the job done. I'm sure there must be a better way of doing this.

Bob, this is true, it's clunky but it has to do with how much space Notion assigns between staves. No getting around it as far as I know.

iMac (Retina 5K 27", 2019) 3.6 ghz I9 8-core 64 gb RAM Fusion Drive
macOS Catalina 10.15 with small AOC monitor for additional display
2 - 500 gb + 1 tb external SSD for sample libraries
M Audio AirHub audio interface
Nektar Panorama P1 control surface
Nektar Impact 49-key MIDI keyboard
Focal CMS40 near-field monitors
JBL LSR310S subwoofer
Notion 6 + Studio One 5 Pro

http://www.tensivity.com
User avatar
by Surf.Whammy on Sun May 31, 2020 4:26 pm
michaelmyers1 wroteSurf, this piece is by Bach, not Mozart. It's the second movement (Ricercata) of the Fugue from his "Musical Offering," BWV 1079/5.

Thanks for the clarification and information! :+1

THOUGHTS

I'm not certain where I got the idea it was a Mozart piece . . .

It doesn't sound like Mozart; but it wasn't something I recalled hearing, so I went with Mozart even though it's way too dark and foreboding . . .

And it does tend to go on-and-on nearly endlessly; but as you noted there is a bit of geometrical logic to it, which is nice . . .

michaelmyers1 wroteKnowing your work here, if you aren't familiar with Fugues, I think you would enjoy the form.

A few years ago I recall writing a post in a guitar forum where I suggested that one only needs 16 to 32 measures of chords and a simple melody to create a symphony by doing the ABBA thing; copying and pasting; and adding a few more alphabet characters (mostly "C" and "I", the always productive "chorus" and "Interlude") . . .

Here in the sound isolation studio it's {Verse, Chorus,, Bridge, Iterlude}, which is the pattern for every popular song ever written, with the exception of a few stellar Roy Orbison songs which might be fugues and was something he could do because he had a mind-boggling vocal range . . .

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So, yeah . . .

I'm guilty of that! :P

Lately, I have been making it a bit more difficult on myself; and some of the songs have taken months to fit into a sufficiently complex pattern, which makes writing the lyrics geometrically more difficult, but so what . . .

The other side of the coin is the fast part for my rendition of "Sweet Hour of Prayer", where no melody appeared, so I just sang it monotone similar to the way John Lennon did the melody for "Lucy in the Sky with Diamonds", with a few simple scalar phrases here and there . . .

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On a curiously related note, someone asked if there was an easy ways to compose songs when you have zero ideas, to which I replied one way is to start with a song you like and then to write a silly parody where all you do for the most part is rephrase the lyrics while using the same chord pattern . . .

The example I used was based on "Lucy in the Sky with Diamonds" (Beatles); and while initially it was beyond silly, after a while I started liking the idea and completed it . . .

[NOTE: Instead of LSD, the theme is absinthe-based, and the tag has the same cadence as the Beatles song. Think "Lucy in the sky with, Lucy in the sky with, Lucy in the sky with diamonds" combined with a few bits from "Not Myself Tonight" (Christina Aguilera), since at the time I was having a bit of FUN doing parodies of songs I liked but were way too naughty, where the general idea is to avoid having original ideas . . . :P ]

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For reference, this is my favorite Christina Aguilera song, which is a rendition of the famous Marlene Dietrich song . . .

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Lots of FUN! :)

The Surf Whammys

Sinkhorn's Dilemma: Every paradox has at least one non-trivial solution!
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by Surf.Whammy on Mon Jun 01, 2020 6:34 pm
This is the new version of the J. S. Bach fugue . . . :)

THOUGHTS

I solved the ScreenFlow (Telestream) problem by reverting to ScreenFlow 6.2.4 (2016), which is so completely and totally logical it defies conventional reason. When the new version doesn't work in the new operating system, revert to the old version that was written four years ago for a different operating system . . .

"Yeah, that makes super fabulous sense."

Said nobody . . . :+1

After listening to the previous rendition, I decided it was not so easy to hear the solo cello and baritone celli; so I increased their respective volume levels; and I adjusted the volume levels of the solo violin and Gypsi violin . . .

Everything else is the same . . .

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Lots of FUN! :)

The Surf Whammys

Sinkhorn's Dilemma: Every paradox has at least one non-trivial solution!

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