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Unable to import to MuseScore iOS

After a recent update I'm no longer able to import anything (.mscz files) into the iOS MuseScore App. After one update it removed my entire library I had imported, so I imported a load again. Now I find I can't import anything anymore. This is the same on my iPad as well as my iPhone.

To import, on the Desktop version of MuseScore I type up the music I want & save it into a cloud based location (iCloud Drive) as a .mscz file. I then go to that location on my iPad, tap on the share button & select Copy to MuseScore.
If I do this now, the MuseScore App will flash open, but nothing will happen. When I do this the file should be accessible via Library > SongBook.

Am I doing something wrong or is this a bug? There have been a few more minor updates since, but the issues persists.

If you'd like anymore information regarding this, please let me know.


Gift worthy?

I wrote a poem to go with this music I had but Musescore won't let me add lyrics so I'm including them here.  I thought about giving this to my nephew as a wedding present but I want to know if it's any good.

Until now I never knew more than moments
Until now I never knew more than me
Until now I never knew a song could be found in silence.

Until now I never dreamed I'd wake up
Until now I never dreamed out loud
Until now I never looked into the crowd and found silence.

We forever, without you never.  We will come together
and hold onto what ever, who ever, where ever
we find behind the silence.

Transitioning from single to double horn

Hey guys, I'm a trumpet player who was also a self-taught horn player for a year. I haven't played in a while but I'm thinking of picking it up again. I know most beginners start off with a single F horn, and that's the route I plan on taking. For those of you who have switched from single to double F/Bb horn, was it difficult in terms of learning the new fingerings? I know they are very different, does anyone have any way to learn the new fingerings quickly? Thanks!

Public Domain Recognition Often Fails

I've tried to inquire about this in the past, but always to no avail, with nary a response from the staff. Hopefully this time will be different...

Yesterday I finally decided to start using the "public domain" marker for the five hundred or so public domain transcriptions available on my profile because I was forced to choose between "public domain" and "non-public domain" after I made a typo in a score description and wanted to update it. I went through and selected "public domain" for a sizable number of scores -- about thirty or so -- and entered the title and composer's name for each one as requested.

This morning, I awoke to find that the PD label had disappeared from over half of the scores I had marked. All of the works in question are in the public domain, and I'd entered the exact title and composer for each one, so -- what happened? Is there any way to correct this?

Examples of scores that reverted to non-PD:
(The last one is really egregious because it's the regional anthem of the US Virgin Islands, which if I remember correctly is explicitly placed by law into the public domain.)


I have a solo I need to do and I get to choose a song, now I haven't played clarinet for very long so I'm trying to find an easy song but not too easy like a twinkle little star. I need something impressive but easy to play if you guys can help me out that would mean alot thanks. 

River Fantasia, Feedback wanted

 I am writing a fantasia where I am representing the flow of a river from a little stream out to sea(I even nicknamed the piece River Fantasia), and because it is a fantasia, I'm not really focusing on the themes, motives, etc. like I would for a sonata. I'm just improvising the melody and bass as I go along. But I do have an arc for my fantasia which goes like this: 

Little stream - High pitched, even the "bass" is in the treble clef here, slow, quiet, feels like it is starting to flow

Like how a stream gets bigger, my melody becomes more ornamented and my bass becomes more rich(going from a single melodic line with more scales towards more arpeggios and chords), gradually sinking down from the treble clef into the bass clef(contrary motion being part of how the bass line sinks), and my dynamics gradually get louder(I mean, even at the beginning, there are forte moments, but like the average dynamic gets louder)

Rapids - Lots of bass motion, especially in fast octaves, to get across the turbulence, changes from major to minor, lots of loud dynamics, faster notes in general 

As you get further away from the rapids, the turbulence leaves behind  a grandiose sound to the bass and the melody, it changes back to major, and the notes slow down

Widening river - Grandiosity, left hand continues to play in the bass clef, rapid, turbulent motion(along with the change to minor and everything else in the first instance of the rapids) may or may not come back(I haven't decided yet, I will decide when I get there), overall note speed slows down, even if the tempo doesn't budge 

River gets quite wide - The grandiosity that was there before starts  diminishing, dynamics get quieter, notes get even slower, music heads  towards a final cadence

Out to sea - The diminuendo continues, if the tempo hasn't already slowed down, a ritardando occurs, music ends at least as quiet, possibly even quieter than it began, the final cadence has an extensive arpeggio that is played by both hands and then a final chord

As you can see, the contrary motion is part of how the bass line sinks from the treble clef into the bass clef, and scales are used more  towards the beginning of the piece. I have reached my first Rapids moment of the piece. And as you can see, in the 6 measures before, I prepare the major to minor motion with downward moving chromaticism. And since the Rapids moment has a lot of octaves, loud  dynamics, and faster notes in general, I decided to do an accellerando in the 3 measures before the Rapids moment. What do you think of what I have written so far? And also, what do you think of the F major to C minor motion? And what do you think of my mid-piece Picardy Third in a ritardando to represent moving away from the turbulence of the rapids?