I just joined this for something to do. What exactly happens here?
I think I might leave MuseScore.
I'm really busy with all my stuff. I'm probably going to leave.
I know I haven't been active in this group, but let's change that! We should add like a TON of scores to help boost morale, or ask people to join to keep things fresh! I'd hate to see this group get lost in time...
May I offer his Sextet (op 48) for your consideration?
It is beyond me why this problem still hasn't been fixed. It has been there for more than six months. It was claimed fixed in MuseScore 3.0.2 -- it wasn't. Now with OS: macOS High Sierra (10.13), Arch.: x86_64, MuseScore version (64-bit): 22.214.171.12451, revision: github-musescore-musescore-59a887d it is still a problem.
I think the problem is related to hidden instruments in the score.
The score: https://musescore.com/user/181766/scores/5627580
has uploaded fine however if I hide the four string instruments the score will never be processed:
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?
A member here asked me this morning, “Are parallel octaves and [perfect] fifths ever OK? Will I ever see them?”, and I thought a polished answer belongs here.
There are genres, such as rock and roll, where parallel chords going up or down the guitar neck are wholly idiomatic — so-called “power chords”, as well as the bass-scalar beginning of Bob Dylan’s Like a Rolling Stone (does that count as “classical” yet?). In most kinds of Jazz, block chords moving in parallel are no problem at all, especially chromatically. Or heavy, two-handed keyboard chords in eight or ten parts in romantic or modern music.
In classical music, there are "octave/unisono" passages, such as the opening of Bach's D minor harpsichord concerto BWV 1052, or that of the famous D minor Toccata BWV 565, where all parts are in octaves for several measures, as well as countless concerti by Vivaldi and others. The unisono opening of Beethoven’s Fifth Symphony, or that of Mozart’s Eine kleine Nachtmusik , literally could not be more famous (those don't count as "parallel octaves"). But not perfect fifths.
Between lines of hymns (4-voiced “chorales”), i.e., after a fermata, Bach not infrequently allows voices to proceed in otherwise unacceptable parallels; the mind of the listener is usually expected to “clear its table/buffer” at such points (but not always). Try here http://www.bach-chorales.com/ConsecutivesInChorales.htm for a discussion of parallel fifths in Bach Chorales.
And in symphonic music (but not classical/baroque), there are places where one instrument (in a fuller texture) doubles another at the octave, in the manner of "octave" organ stops (e.g., flute/bassoon), but that is "romantic era" gesture. And, of course, many orchestrations involve two different instruments playing the same part in unison. In many Bach cantatas, the continuo and vocal bass go "in and out" of tracking each other in exact unison, which causes occasional small passages to "look like" consecutive unisons amidst a seeming run of independence. But not fifths.
And there are cases of “parallels at larger note values”, where the parallel intervals are not directly adjacent, but other notes intervene between them, which may or may not be acceptable depending upon the specific notes and context, and their acceptability may be contentious: "Sounds like fifths to me!". "Well, not to me."
There is a cadential anticipation gesture that causes parallel fifths between the melody and a descending seventh, where parallel perfect fifths are, remarkably, tolerated (e.g., https://www.bach-chorales.info/BachChorales/B361.html bar 4). And there is a case of the resolution of so-called "German Augmented Sixth" chords where they are inevitable, and occur so regularly in Mozart's oeuvre that they are sometimes called "Mozart fifths".
Parallels and unplanned doubling are also permitted between continuo right-hands (realizations) and obbligato instruments and voices (but the RH must be contrapuntally rigorous with its own LH, i.e., the common bass line); the real-time continuo "realizer" is not supposed to be aware of those parts; this is a complex subject; see my many continuo realizations posted here for examples (note that usually realizations are not "written", so you won't "see" them).
And then there is the matter of “direct fifths/octaves”, not exactly parallel, but similar motion into a perfect interval leaving the forbidden unsaid but implied, whose acceptability varies from style to style, composer to composer, and time to time, and with respect to which Bach is considerably more lenient than the theorists of his time.
And occasionally, composers make errors.
Otherwise, the answer, for contrapuntal writing of putatively independent parts, is just NO, if you want your work to resemble that of composers who held fast to this guideline.
Meanwhile the new MuseScore App works for me, even with files stored on my device (although a simple "open" from file manager still does not work - but "open with" does).
What I miss is keeping some settings stored so that on next time starting the application these settings stay selected:
- startup-page: from the 4 selections (browse, bibliothek,...) start directly with the same tab that was used the last time
- when closing a file, come back again to the formerly selected collection (e.g. Songbook). Actually I always come back one level above (my collections).
- classic view: keep this selection in mind for the next opening of a score. I prefer this one, esp. because it keeps the portrait view (and does not switch to landscape, which is not so nice on a tablet.
This issue has been present for months. I had to save a blank score online with Musescore 2 and then replace it with the actual score. Without computer access, I cannot do this now. It seems so simple to fix an accident mis-linkage; I do not know why it has taken so long.
I'm having trouble getting a score onto the spotlight part of my profile page. I removed one my scores from the spotlight part of the profile page because of the whole Disney copyright thing. Then, when I tried to add a different score to the spotlight part of the profile page, I noticed that there was not an option for me to do that and I'm talking about a score that was never on the spotlight at all. The scores that are already on the spotlight still have the option to remove it. The weirdest thing is that right now, I only have four scores in the spotlight and I'm pretty sure the max is five. I have no idea how to approach this now. Does anybody else have the same problem at all or is it just me?
The first competition is here!
For this month, the theme will be "Relaxation", since summer is a relaxing time of year. Any pieces composed/arranged/transcribed should incorporate relaxation in some way.
Have fun, and good luck!
Also, as nothing has been submitted yet, the June competition has been extended.
Please give some feedback. I would love to hear everyone's opinion.
I have an ASUS K01B running running Android 5.0.2 (the latest version offered). Until recently the Musescore app worked smoothly, but recently the app hangs when I try to changes tempo or metronome settings: the little window cannot be closed and playing resumed. I have to close the app and restart it, after which the new settings are indeed in effect. My wife's new Samsung tablet does not have this problem.
And BTW, I terribly miss the mixer, which would allow me to quickly change the relative volumes of e.g. voice and piano when studying. The new practice setting is not nearly so flexible.
I saw this was a place to post original stuff and I want to try and get some criticism besides my own so here’s an idea I had a while ago: https://musescore.com/user/26181351/scores/5617161
Any feedback on orchestration/melody/harmony/themes/anything is greatly appreciated. I know the transitions are pretty awful, I'm still learning so any tips are very welcome. Thanks!
I received an email sent at 8:15am about one of my scores "When You Wish Upon A Star" being taken down for copyright infringement.
To be specific, it is my arrangement of the song for piano from the Disney movie Pinocchio. The licensing under this score is "Attribution" due to the fact that it's my arrangement of the song and I do not want anyone to claim the specific arrangement as their own, not the original song itself. The reason I am bringing up the licensing is because I'm not clear on whether the copyright strike is because of
1) my score is based off a popular song
2) the incorrect licensing
3) or a software glitch (as mentioned by Mike in another discussion post on this forum)
If it's possible, I can always change it to public domain. This is my first time receiving this notice, so I am unaware of what exactly happened. I'm hoping this can be settled and one of the staff members can take away this strike and make my score public again.
Also if anyone can educate me about whether I did the right thing about licensing my score as "Attribution" I'd greatly appreciate it.
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.
So I know there is a way to view this already, but this has sort of a twist.
I am following several hundred people, and so my dashboard is crammed with a ton of scores. I'll get about 20-40 notifications per day of people uploading scores, and I often miss the people who I really want to hear from. I was wondering there was a feature that gave a person the option to select email notifications for specific persons that one follows similar to the notification bell on youtube (an option that pops up right after clicking the follow button). It would help me keep up with some of my favorites here.