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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.

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.

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?

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! :(

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.

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."