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High Tower Text font changes to something else on the website?

https://musescore.com/howard_c_/tchaikovsky_1812_overture, the title, composer, instrument names, tempos and stave texts are all written in High Tower Text, but it was changed to another font which looks really dumb. I wonder why this happened, and can this be fixed? Because some time ago Georgia had the same problem but now it seems to be fixed. I suppose many other fonts have the same problem as well...

Help?

Ok, I am trying to make a score with different instruments, but I realized I needed another instrument. Any idea how to add it instead on copy and pasting it to a new score? If there is a shortcut, please reply:D! If not, that should be fixed in an update. Thank you!

How do I make a stem "cross staff" on piano?

The notes I have here are, not in that order: C right below the treble clef, D on the treble clef again, G on the treble clef and another G, an octave below, still on the treble clef. I'd like this lower G to be on the bass staff and the stem to extend.

And I can't figure out how to do that. I have looked online for the best part of three hours and still cannot figure out. And no, I won't use voices. How do I do that?

How do I write an arpeggio spanning several staves (piano)?

Question is in the subject, really. Unless my English fails me _again_ and those are not staves I'm talking about.

Anyway, I have a series of 5 notes, three of which are in the bass clef and the two others in the treble clef; and they are meant to be played as an arpeggio.

I have input the scores separately on both staves, at the same beat, but I do not see how I can make the arpeggio extend from the bass clef to the treble clef, or the reverse. I have tried shortcuts which I thought were obvious (for instance, selecting the arpeggio sign and pressing Ctrl plus up or down arrow) but no luck.

How do I do this?

Violin vs Stroh violin

Violin vs Stroh violin?
Which is better?

The Violin with the Horn or Stroh Violin is a specific instrument , although invented by the Englishman Augustus Stroh. It can be said that Stroh Violin represents Bihor County. The biggest musicians on the Crişului Repede valley are the beloved Căbuţă Gheorghe "Stângaciu" and Mitică Negrean, who are part of the professional orchestra "Crişana". The bihorian folklore is represented by the "Crişana" Artistic Professional Ensemble of the Oradea State Philharmonic in tours abroad and in the country, which was founded in 1998 on the structure of Crişana Orchestra, a professional orchestra with a tradition of more than 50 years. From the very beginning, the orchestra had the purpose of processing the popular song. At present the "Crişana" Professional ensemble is among the first folk ensembles in the country. The soloists of the ensemble are Cornel Borza, Leontin Ciucur, Luminiţa Tomuţă, Viorica Bradea, Cornelia Covaciu, Voichiţa Mihoc, Felicia Costin and Florinul Bihorului:Florica Duma, Florica Ungur, Florica Zaha,Florica Bradu and the most famous instrumentalists are Gheorghe Rada, Stângaciu, Mitică Negrean, Adi Miclăuş, Liviu Butiu and Petre Frasin.
Stroh violin
It is not known for sure that the violin violin used by Bihor tars was the same as that created by John Matthias Augustus Stroh (1899-1949). At a closer look there are important differences. The Bihor coroner's violin is much softer than those created by Stroh. Of course, it's original, because the violin in the picture above is an unfinished copy. Those who have had the opportunity to see the Bihor tool closely can easily notice differences. Unfortunately, we are not known craftsmen of the violin. Stroh violin is likely to be used in Transylvania before 1900. According to some reports, the game came to the village musicians with "van, taragoata (taragot not clarinet) and Stroh violin (or fiddle as it is called in the Apuseni Mountains) ". Another local instrument name: "higheghe with tolcer" (higheghe = violin, tolcer = funnel) In Central and Western Europe, the violin was not successful, because it was used on classical music scores (Mozart, Bach, Beethoven, Brahms, Haydn, etc.), not forgetting that this instrument produces tonalities specific to lute music, tones which is very good compared to the established violin. It is interesting to note that in Bihor the viticulture with the goat does not have the same success in the listeners. The European studies on the distribution of musical instruments and their tradition record the presence of the violin with the goarna only in the eastern part of Hungary, on most of the border with Romania, and not in Romania, from where they actually took over the Gypsy tarafs.

Repeats broken on site

A week or two ago I asked about this. When I use the Nice Keys or Touhou soundfont and upload a score with that audio, when you listen through, repeats don't work. Here's some examples in my scores:
 
https://musescore.com/mkmusic123/scores/5613257

 
https://musescore.com/mkmusic123/scores/5613610

Here's one where I uploaded with and without the soundfont.
With (Broken):
 
https://musescore.com/mkmusic123/scores/5614426
Without (Not broken):
 
https://musescore.com/mkmusic123/scores/5614422

Please help! :(

Copyright infringement concern

There has been some concern about copyright infringement here lately and I thought of my song cycle which I recently embellished with photos of the poet (Emily Dickinson) that were taken in the 1860s. One such - https://musescore.com/user/29586932/scores/5611797 
I now fear the possibility that someone "owns" these. Could this be possible?
If so, that is a problem. I recently tried to get permission from  publisher to use words from an early 20th century poet and I never received a reply in 5 weeks. I would not even know how to find out who would have rights to these old photos, let alone expect a reply. 
Do you have any knowledge of this?

Importantly, I would like to know if there is a problem, will I be forewarned or is my music just yanked out like an old molar?

Almost reached 50 follower milestone

If you don't know already, I am now almost at 50 followers. Currently I have 39 followers so just 11 more and I will have reached the 50 follower mark. I had maybe like 4 followers 2 years ago. So clearly, I'm doing something right. My most recent score called The Storm just brought me 2 more followers. I suppose they followed me hoping to someday see the entire suite that I plan on The Storm being a part of. That suite I call Weather Music. Maybe I should compose another part of the suite for that 50 followers mark, upload it when I reach 50 followers, and then whenever I have finished the suite, upload it in its entirety.

If you want to listen to what I have so far of The Storm, here it is:

https://musescore.com/user/50070/scores/5611423

It just so happens that I have been getting rain for 3 days straight here in Ohio.

Update 1: 6/18/2019

Oh my goodness, 4 followers in a single day. That is a record for me, I am now at 43 followers. I don't know if the follower milestone or finishing the composition will come first. If the follower count does come first, that's fine. I'm not pushing myself to finish the 50 follower composition.

Update 2: 6/19/2019

Wow, 5 followers in 1 day. I don't think I will finish my 50 follower composition before I reach 50 followers. Often my composition process is slow, so don't be surprised if a week has passed and I still haven't finished the composition yet. I will get it done when I get it done. I emphasize quality over quantity with my compositions.

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
 

Who needs "rules"? What's this nonsense about "rules"? I'm a drifter born to walk the road!

This my take, and what I do when I write music, and how I judge others' music. Your mileage may vary.  Comments welcome.

“I don’t want to sound like Bach or Mozart — rules are for fools and drones with no imagination! I’m a rebel, like Joyce, Stravinsky, and Picasso!”

Who likes or needs “rules”? Who wants to be told where they can or can’t talk, use their cell phone, eat, or park for free? What is this nonsense about books full of “rules” for music, saying you “can’t” use two successive fifths, or sevenths not followed by the note below? Or that fugues “have to have” “expositions” and “episodes” and follow “rules’ preached by other books about what their notes are “allowed” to do?  Are music lovers so arrogant and condescending that they listen to music trying to play “gotcha” when notes don’t do what some damned music professor said they ought to, and laugh and reject that music? Or is this a scam to ensure salaries for “music teachers” who are paid for putting red “X”s on people’s scores? 

And didn’t tremendous artists like Schoenberg, Jackson Pollock and Allen Ginsberg become famous by “breaking rules” (as did Bach, Beethoven, and Mozart)? I never saw a music-police wagon pull up and arrest somebody for “breaking the rules”…. 
 
I see scores here every day, usually attempted complex contrapuntal forms such as fugues and canons, with “I know, I didn’t follow the rules! Sorry!” as a (lame) excuse for why they (almost invariably) sound amateurish, dissonant, and disjoint.

In the past, before the internet and easy-to-use, free score editors, musically sensitive people who went to concerts or church or listened to the vanished thing called “classical radio” would there hear great music of the past. The industrious among us might try to learn more about it by buying “phonograph records” (which, once invested in, had to be listened to many times to justify the acquisition), and scores, ditto, and perhaps trying to play the music they heard on a piano or simpler keyboard,. And maybe we might even buy some music paper, and pencils with erasers, and try to write some new music, and eventually arrive at the conclusion that this stuff was pretty complicated: as with stage magicians, the fact that serious music looks “simple" when done correctly is the very fruit of the art — if you do not learn how to be a magician-musician, the result on stage will be sad and transparent failure.

If you were lucky, you might have been near a good library (mine was almost an hour away) with a good section on music-theory books, or perhaps knew a professional musician, student, or teacher, who could explain how to write music that sounds, to whatever degree, like the music you heard and wanted to emulate. And you would learn that there are indeed methods, abstractions, technologies, and yes, “rules” (many of which differed from century to century and place to place) which causes the music of historical composers to sound the way it does, not like “old music”, but like well-written prose or a well-painted picture, where the parts contribute to the whole, each sentence expresses a logical idea, questions that are raised are answered, and there is no spattered paint or typos all over the piece.  That, not genius or matchless inspiration, is why their music sounds like classical music instead of the uninformed tinkering of beginners. But it is utterly possible to inform yourself, and, with care and diligence, move beyond being a beginner.

If you are a native English (for example, it’s true in any language) speaker, you don’t say “I write my sanata yesterday with C major”, because it’s not English. Any native English speaker knows that, and although we understand it, we use and prefer (reasonably) proper spelling and grammar. Grammar is not a scam to pay teachers; people who speak English (or French, Russian, Arabic, or Japanese) competently not only speak in credible grammar, but best understand and appreciate correct utterances in their respective languages. The same is true of classical music — if you want your creations to be understood with ears accustomed to the form, texture, gestural vocabulary, and overall idiom of that extremely broad genre, you must “do the same thing”, “speak in that language”, i.e., follow the same rules. Failure to do so will prevent your work from sounding like competent classical music.

These “rules” were devised by musician-composers skilled in teaching, in order to codify and transmit, to their pupils, and to us, what they knew about writing music, so that they and we could do it, too, and express our own creativity. The rules of tonal music are not a strait-jacket, but a power tool.

As with every other art, those who “broke the rules”, such as Picasso, Joyce, and Stravinsky, were fully competent in the traditions of their arts before creating iconoclastic work.

"Your mileage may vary."

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?