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Help needed

 Hi everyone :)So I need to choose my best rondo I composed for practicing it in my summer holiday (I know sometimes composers don^t know how to play their own pieces) so I need your help. All 3 rondos are in my profile but I will leave the links here for easy access. Thanks to all the people who read this and helped me:) Love you all <3  
https://musescore.com/dozin2/grand-rondo-alla-turca-op-1
https://musescore.com/dozin2/rondo_g_major
https://musescore.com/dozin2/rondo
 

Help needed

 Hi everyone :)So I need to choose my best rondo I composed for practicing it in my summer holiday (I know sometimes composers don^t know how to play their own pieces) so I need your help. All 3 rondos are in my profile but I will leave the links here for easy access. Thanks to all the people who read this and helped me:) Love you all <3  
https://musescore.com/dozin2/grand-rondo-alla-turca-op-1
https://musescore.com/dozin2/rondo_g_major
https://musescore.com/dozin2/rondo
 

Help needed

 Hi everyone :)So I need to choose my best rondo I composed for practicing it in my summer holiday (I know sometimes composers don^t know how to play their own pieces) so I need your help. All 3 rondos are in my profile but I will leave the links here for easy access. Thanks to all the people who read this and helped me:) Love you all <3  
https://musescore.com/dozin2/grand-rondo-alla-turca-op-1
https://musescore.com/dozin2/rondo_g_major
https://musescore.com/dozin2/rondo
 

Project

Me and Rusty have been talking and we both thhought that it might be an idea to do a colaberation on our LOTR music. So, who is interested? We will probably start with my already orchestrated one, just to get going, but we could do others in the future.

Firstly, we need to know who plays what. So, post here any part from my Fellowship of the Ring score that you are willing to play.

Parts:
Piccolo: TAKEN
Flute 1: Rusty
Flute 2:
Oboe 1:
Oboe 2:
Clarinet 1: TAKEN
Clarinet 2:
Bass Clarinet:
Bassoon 1: Big Johnny
Bassoon 2:
Alto Sax 1: TAKEN
Alto Sax 2:
Tenor Sax: nheilborn
Baritone Sax:
Horn 1:
Horn 2:
Trumpet 1:
Trumpet 2:
Trumpet 3:
Trombone 1:
Trombone 2:
Trombone 3:
Tuba:
Percussion:
Violin 1: TAKEN
Violin 2: TAKEN
Viola: TAKEN
Cello: matman344
Double Bass: TAKEN

Add "Beat" Information in .xml import

Hello! New member here. I have been doing some research on drum beats and been using Musescore for my transcribing. For analysis, I think it'd be very useful to have information on the onset of notes in drum beats. Musescore provides this in the information in the bottom left hand corner when a note is selected, i.e "Beat: 2.5" for an eighth note played on the "and" of 2, but for some reason this information doesn't make it to the xml files I've exported. Those files include the type of note and duration among other things, but for percussive notes it's much more useful to have information of when in a measure the note starts rather than just the duration of note, as, other than some cymbals, most percussive sounds are instantaneous. Is there any workaround to get this information in the exported .xml files? I've found this page: https://musescore.org/en/node/288539
which points to an external plug-in but I've had some trouble getting that to work, and I feel like it should be simpler.
Any help or pointers in the right direction would be helpful. Thank you! 

Are Fugues really easier to write than canons?

I have written full canons before and I have attempted writing fugues. But every attempt at writing fugues, at least 4 voice fugues leads to parallel octaves because I'm like:

Okay, I have reached an octave, now what? Going down to a 7th won't work  because that will lead me back to the same octave. Going to a 9th also won't work unless it is between the tenor and the alto because I can't play a 10th interval with a single hand so if the 9th is between the tenor and the bass or between the alto and the soprano, my only choices are either to go back down to an octave or to leap. Going back to an octave seems like the better option because I conserve leaps, but it just delays the resolution of the octave. Contrary motion to a 6th might work, but what if that doesn't fit with the harmony? Only other solution I can think of that doesn't break the parallel octaves rule is a leap in 1 or both voices involved in the octave. And in general I want to use as few leaps as possible outside of maybe a subject entry, and if I have to use a leap, I would prefer a third over a sixth. 


And I end up not finishing the fugue

Now I've been told that the distribution of 4 voices in a keyboard fugue is generally that the bass voice is alone in the left hand and that the other voices are generally in the right hand. But, it seems to me, that having 2 voices per hand just feels more balanced. I have also been told by a few people that fugues are easier to write than canons. Now this seems very counterintuitive to me. In a canon, you have the same melody, just delayed by a certain amount in each line. Sometimes this has a ground bass below it. I won't give an example from Pachelbel because you all know it. Instead, here is a 4 voice canon by Mozart played by a string quartet:

 

As you can see, every voice is playing the same exact melody until the cadential section is reached.

In contrast, fugues seem in all ways more complicated than canons. If I had to describe it as a cross between 2 forms, I would say that it is a cross between the canon and Sonata form. It has the main melody in multiple voices, just like a canon. And sometimes there are 1 or more countermelodies that also appear in multiple voices. There is also motivic development which is similar to what you find in Sonata form. 1 thing that differs the fugue from both canons and Sonata form is that the voices are like completely independent even if you don't take time into consideration. Time is what makes the lines of a canon independent. Fugues have lines that are independent through melodic shape alone. Sonatas rely on the relationship between melody and bass. No such relationship in fugues. In that sense, sonatas are closer to a ground bass canon.

And like I said before, I have never written a complete fugue, just a few complete canons. Even something like Fugue in C minor WTC I seems easy for a fugue but hard for counterpoint in general and especially compared to canons. Here is the fugue I'm mentioning and this video uses color to show the 3 independent voices:



So are fugues really easier to write than canons if they are almost like a cross between the canon and the sonata? If canons are hard, then wouldn't fugues be even harder?