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Imagine if you could save lyrics with midi export as 2 options: "KAR file (MIDI File with lyrics)" and "KAR file with chords"

in What should I name this group...

This is a request that goes back to at least 2015 and I have formally requested this feature again (see https://musescore.org/en/node/290163 ) - to create KAR files, and kar files with chords. This would allow us to use a real Karaoke Player, such as the free van Basco player (http://www.vanbasco.com/karaokeplayer/ ) app for practice, performance, learning, teaching, etc. It's high time for this feature after 10 years.

Do you realize the numbers of  school teachers, and church choir leaders would would find this useful for teaching, conducting parishioners, choruses etc.? And why not lyrics from several voices simultaneously? Why, people might even have FUN with these files (heaven forbid)!!

Do you realize how useful these files could be with karaoke software?! I am a programmer and I see the arguments as "beside-the-point" and not at all insurmountable.  In fact, there may be no reason why more than one part's lyrics couldn't be saved and scrolled in a karaoke app in parallel.

Read my request where I address the programmer's objections. With all the lyric-typing I do I am disappointed/insulted that I can't export the lyrics with the midi. I have searched high and low and the closest software I can find to a solution is Serenade (http://www.1manband.nl/serenade/index.htm ) which is far from as perfect for this as MS would be. Please help promote the idea at (see https://musescore.org/en/node/290163 ) !!

6 months ago
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Country Day, Would like some feedback

in What should I name this group...

 This is a piece that I composed to sound pastoral(in other words, like the countryside). I used this sequence of modulations:
 
F major -> C major -> A minor -> Bb major -> C minor -> G minor -> Bb major -> F major 

The first F major section is supposed to sound like the sun is rising.  Then in the C major, A minor, and Bb major sections, it sounds  relatively peaceful. But the Fate motive appearing in both the bassoon  and the piano foreshadows the C minor section, and the last entry of the  Fate motive being on a C minor chord makes it sound like I am directly  borrowing from Beethoven's 5th. Once I get to the C minor section, there  is a jolt, both in dynamics and in tempo. The tempo almost doubles and  the dynamics become fortissimo. I also use a repeating progression twice  in this section. Here it is:

i -> i6(first inversion tonic)  -> i -> iv(with Ab in the melody giving a more dissonant tone)  -> i -> i6 -> i -> vii°7 -> i 

Now there were a lot of ways that I could have gone from C minor back to F major. Here are just a few: 

  • Circle of fifths, ending it on the subtonic dominant 7th in D minor
  • Ending the progression at F minor and then going straight to F major via parallel modulation
  • Ending the progression at C minor, then going to C major which leads to F major
  • Ending the progression at B°7 and resolving it to C major, again leading to F major

I decided to start like the circle of fifths progression, going to G  minor. From there I went to the mediant of G minor followed by a plagal  motion to F major.
 
Once I got back to F major, I decided on having the flute play a melody  to give us a sense that the drama of the C minor section is over. This  melody, I accompanied in the bassoon. Later, when the melody comes back,  I change the register to be down an octave and have it played by the  bassoon. The flute harmonizes and embellishes it with a countermelody of  its own. Towards the end, I have all 4 instruments playing  simultaneously and there is a ritardando, going from the 120 BPM of the G  minor and second Bb major sections to the 60 BPM at the end. In the  third to last measure, the harp does a diatonic glissando. I intended  for it to be diatonic to avoid much dissonance between the Bb major  harmony and the glissando. In the measure after that the harp does a  long trill and then it ends with arpeggios in the harp and block chords  everywhere else. These last 3 measures are again fortissimo. But because  there is no modulation or sudden tempo change, the fortissimo in those  last 3 measures just sounds like a typical ending cadence and so even  though mezzo forte and fortissimo have quite a noticeable difference in  intensity and there is a busy texture in the mezzo forte before it,  there isn't much of a noticeable dynamic jolt. The flute and bassoon  move in contrary motion over the piano chords in the last 2 bars, both  to an F but in different octaves.
 
I didn't compose this for your typical quartet. Instead I thought  "Which instruments would go well with the countryside in terms of their  sound?" Piano, Harp, and Flute were obvious ones. To help balance the  woodwinds against the piano and harp, I decided on having a second  woodwind instrument. I didn't go with the Oboe because it sounds pretty  nasal in timbre compared to other woodwinds(would probably be a very  good instrument though if I wanted to make a piece sound Scottish).  Another instrument that I could have used is the Clarinet(which in the  case of this piece would be a Bb clarinet). It sounds mellow like the  flute. But I figured that I didn't need a more mellow sound, I needed  some warmth to the sound. And I knew just which woodwind instrument  would provide a warm quality to the piece. That would be the Bassoon,  which is comparable to the cello because of its wide pitch range and  warm tone.  

What do you think of it? Here is the link:

https://musescore.com/user/50070/scores/5583632

6 months ago
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