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[s][r] Musescore Tribune dies, age .0234


The MNGA staff regrets to inform its subscribers that Musescore's largest and most popular fake news site, the Musescore Tribune, has died at a very young age. 

"Noooooooooooo," mourned a grieving @cubbybubby01, while @WarlikeMicrobe merely said, "I'm not dead. I don't know about the rest of y'all," a statement to which @UnknownAvat4r518 readily agreed. [1]

@CalebKum, one of the Tribune's admins, was completely in the dark, only answering a dim "Hello," to UnknownAvat4r518. The Tribune's founder, @captain argon, told everyone that, "I'm not as active because there are a few things that are REALLY dead in my life...  most of my free time is dead." 

Will the Musescore Tribune be able to resurrect itself? Only death knows.

This is MNGA. 

[1] Source:

[r] Legendian Comes Back to MS


The MNGA is thrilled to announce the worldwide legend, @Legendian, has come back to Musescore once for all! 

"I just wanna say thank you all for your support and love!" Legendian told a welcoming community this evening. "I heard about the feature for unlimited scores without PRO and it was too good to pass up... can't wait to continue my journey with you all!" [1]

He also assured the RSA that the popular group John and Jay's Challenges will be "starting back up and running fresh." 

Welcome back, Legendian!

This is MNGA.

[1] Source:

Help? Any Pros?

I was just wondering; I made a string trio arrangement and tomorrow we have a trio rehearsal so I want to print out parts but I don’t have Pro and won’t for a long time, would anyone here that’s pro be willing to do me a favor and download the individual parts PDFs and email them to me? That would be great

My first Cello Sonata: Exposition finished

This is the first time that I have ever had a finished exposition for a cello sonata and the second time I have ever had a finished exposition for a duet sonata(my first duet sonata to have a finished exposition was a flute sonata).

I didn't plan the exact structure of my exposition beforehand, but this is how it turned out:

Bars  1-18: A slow period structure as the first theme, antecendent phrase ending on subdominant, consequent phrase ending with C major cadence. This theme has a canon at the beginning of both phrases.

Bars  19-26: Transition passage based on the inversion of descending motive in the last 2 bars of the first theme with little bits of countermelody thrown in while the motive gets sequenced up to G major.

Bars  27-45: Second theme where the cello starts off with the main melody. Invertible counterpoint between the piano and cello occurs here and to highlight that, I use different dynamics for the 2 hands of the piano. At bar 36, I have the cello play the melodic bass line pizzicato, but not just because it was staccato in the piano, but also to add contrast against the legato and bowed staccato that occurred beforehand. The main melody gets transferred to the right hand of the piano and the chords get transferred to the left hand of the piano. Bar 45 is when the cello goes back to playing arco.

Bars 46-69: Closing material. Bars 46-61 have invertible counterpoint once again between the piano and the cello. In bars 46-53, the left hand of the piano plays the octave bass line, the right hand of the piano plays the melody with dotted rhythms,  and the cello plays the melody without dotted rhythms. Combining these 2  melodies produces some syncopation. 

At bar 54, the cello now plays the melody with dotted rhythms, the left hand of the piano now plays the melody without dotted rhythms, and the octave bass line is  played by the right hand of the piano When the cello plays the melody with dotted rhythms, I add a bit of a spin to it. Instead of just copying the melody note for note, I add some embellishment, in particular, bariolage, as you can see by the notes with a 0 above them. 

At bar 62, the cello sustains a G as a fragmented scale is played by the piano(for which there are 2 levels of fragmentation, thirds going up and down the scale, and groups of 3 notes in stepwise motion, again going up the scale). Then the piano sustains an A as the cello plays bariolage. The cello once again sustains at bar 65. At bar 67, a G7 arpeggio in mostly contrary motion is played before the first theme repeats.

And for those that are going to complain that I don't have slurs in here and that the cellist won't know where to change bow directions, I will put in slurs when I am finished composing this cello sonata. 

What do you think of my sonata so far?