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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?

New Piano Roll Feature on the musescore.com

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!

Make something about spam descriptions!

Make something with this kind of pages:
https://musescore.com/user/12225816/scores/3625056
https://musescore.com/user/9026621/scores/5050422
https://musescore.com/user/9026621/scores/5158581

They are clearly spam description with the aim of showing those post on almost all searches people make. And when 2-3 of this posts turn out in search results they also make the website load slow, it takes like 5-6 seconds until the page is fully loaded.

Please edit them, or put a limit to the number of characters people can use in descriptions.

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.

GROUP HISTORY

I will update this weekly

4/7/19:
1 Member
1 Discussion
Group is created today! Woohoo! *confetti and stuff falls from sky*

4/15/19:
8 Members
2 Discussions
Eek! I forgot to do this yesterday. The group is already dying, so uhh… :o
@Jaybird1 is one of the first truly active members, I told him I would give him a shoutout here, so here you go :P

4/26/19:
14 Members
3 Discussions
I haven't updated this in a while, this group is blowing up now...

4/30/19:
22 Members
5 Discussions
Holy cow, this group is blowing up. 8 members in 4 days, wow...

5/13/19:
30 Members
4 Discussions
Hmm...Starting to die again...

5/16/19
35 Members
5 Discussions
Welp...I was wrong...

5/17/19
41 Members
7 Discussions
I was very wrong, this group is really blowing up, welp

5/18/19
47 Members
7 Discussions
Again, welp

5/22/19
55 Members
8 Discussions
So I had to kick a member (Indy500) for spamming a link to an unsecure website. Sorry, but spam for no purpose is not tolerated. 

5/29/19
70 Members
11 Discussions
Okay then, I don't know what to say

5/30/19
72 Members
12 Discussions
Okay then, I started a discussion trying to get to 1k comments, and I thought it would fail. As I am writing this, Lizzapie, Mnmwert, Vash Hartman, and myself are spamming to get it to 1k. It's already at like 150 or something (every 2 minutes I refresh and I have 10+ notifications lol)

5/31/19
83 Members
14 Discussions
So this group is now closing in on 100 members, but we need more discussions!

6/1/19
95 Members
18 Discussions
Wow, 5 more members till 100! 

6/2/19
100 Members
20 Discussions
Woohoo! 100 Members!

6/8/19
113 Members
34 Discussions
This group is starting to die

6/18/19
35 Discussions
123 Members
Now the member count has capped out at around 1 member per day, BUT this is a random group, and I didn't really expect it to be this active.

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."

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
 

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? 

Icons not showing up correctly

Same computer and browser that I have been using every time I report these issues(Windows 10 OS, Dell Inspiron 15 laptop, Mozilla Firefox browser).

This icon issue started several days back. But at first, it only affected me when I initially logged in and as soon as I went to another page, the icons would show up correctly(like the arrow for the upload icon, the bubble for the comment icon, and everything else).

Today, it is more permanent. No matter what page I'm on, the icons look like gibberish. Like the upload icon looks like F0RR in a little box instead of the upload icon. Only time on the site makes the icons look normal. What is causing this and when will the icons get back to normal without me having to wait to see the normal icons?

Just to clarify, the reply and like icons aren't affected and neither is the notification icon but pretty much every other icon is affected.

Maybe a new function? Chord Analyser and creator of e new voice

Hi all, i would like to have a chord analyser :-)
it should works like this steps:
- Import a Midifile
- 1. function -> Analysis of the Harmony
- 2. function -> write the chord at right part on the score

maybe with the same function(analysis of harmony) it's possible to create a new voice for example the 3. or the 5. -> it would be a great help for choir scores.

Thank you for your great work.
By Francesco