I love my recorder, but my friends laugh, and say that it isn't even an instrument. Is this true? Help me.
After installing the recent version of musescore 3, when ever I open it it closes before I can do anything. Any solutions?
Does anyone know of some way to study counterpoint in a more understandable and approachable fashion, aside from studying Bach's scores which I already do for fun.
Search bar: Game Of Thrones
https://musescore.com/user/28728657/scores/5618597 for example (select YouTube source or this doesn't happen). Playing any score with a YouTube audio source (not video) leaves a grey box at the bottom of the score, obliterating what should be there. This has been going on for about a week; I had hoped it would get fixed, but ... That's Firefox 67.0.2, Mac Mojave.10.4.5.
CCC#2 is here!
Based on the results of the survey I sent out on Friday 7th June, it occurred to me that several of the themes which I suggested, and asked you to vote on, would in fact fit quite nicely together. Therefore, for this second competition, I have found another painting by Caspar David Friedrich, since the response for “The Watzmann” was very good. I am also going to give a genre of music (as wide as possible, but still something to go on) and a short story available in the file below.
If you would like to help judge the competition, or have any other queries, please message on Musescore, or via discord @jte#9811
Details of the competition:
- The deadline will be in 4 weeks time (Saturday 29th June)
- The genre, as chosen by the survey will be “Film Music”. This is deliberately a very wide genre in order to give the contestants freedom of creativity. There will be an award for the most original take on the task, as with the first competition.
Obviously this theme can be interpreted to fit your desires.
- The painting (shown below) and the story are both in the google docs file. If you have any issues accessing this file, please don’t hesitate to contact me. I will be happy to help.
- Your work must be completely original/all your own work.
- Be nice when critiquing other people’s work. Constructive criticism is fine, but don’t be rude. If you do, you will be disqualified from the competition and banned from the group.
- All pieces and comments must be appropriate.
Please let me know if you’re planning on taking part. I’d like to have an idea of who might be competing.
I scan sheet music and import into museScore, but everything comes across okay, but no lyrics. How can I get my lyrics to come across as well?
Did any of y'all create horrible pieces of music the first time you joined Musescore?
Got questions about music, instruments, brand names, more?
Fellow members will try to answer them to the best of their ability.
(Life advice is fine as well, I suppose)
Today marks the release of MuseScore Piano Roll. Piano Roll is a popular and convenient method to display piano notation in a way that not only simplifies learning a new piece for novice musicians who lack a teacher, it also beautifully visualizes each score.
(Video captured from https://musescore.com/classicman/scores/33715 )
Give it a try by simply clicking on the Piano Roll icon now available on all solo piano scores. Be sure to tell us what you think in Improving MuseScore.com!
All of these improvements are designed to not only make MuseScore.com the most valuable resource online for sharing and discovering great musical works but for learning them as well.
We hope you’ll be as excited about this new feature as we were to create it for you, and as always we look forward to your feedback.
This is just the first of an exciting series of updates and releases for MuseScore PianoRoll; we're already hard at work on improving the experience!
This would greatly improve audio playback and mitigate the need for expensive sound libraries. I think it would be a good thing for MuseScore, as do several other members.
Just received a notification from Musescore saying that 2 of my scores that are my own original work have been reported for copyright infringement. Has anyone else received the same issue? I've written up a dispute for both scores and awaiting validation
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."
Nobody responded when I posted this so I'm going to delete that one and post it again:
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:
Here's one where I uploaded with and without the soundfont.
Without (Not broken):
Please help! :(
I'm new to this whole groups thing so I don't really get whats going on but like I would really appreciate feedback of any sort on my composition:
Please change the audio source to the second one because otherwise it sounds a bit crap.
Hi! It would be absolutely enthralling if you would check out these scores. Unfortunately, my scores did not upload perfectly onto here, though they did upload perfectly on piano shelf. If you want to print the music out, then please visit those links, which I will provide.
Articulations have completley stopped working on MDL instruments. Is anyone else experiencing this issue?