MuseScore

Welcome to July’s edition of “MuseScorer of the month.” This is your chance to get to know one of MuseScore.com’s many brilliant members each month of the year. We’re featuring a wide variety of composers and types of music in this series, as well as ... [More] some members who use MuseScore to transcribe and share public domain sheet music. When we started this series six months ago, in January, our first MuseScorer of the month was Timothy K Hamilton. Now, at 2017’s halfway point, it’s time for another Tim—so meet Tim Weaving! How did you discover MuseScore? I first started to dabble with classical composition in 2010, around the age of thirteen. Whilst at secondary school I was introduced to Noteflight, an online music notation application which I used for several years, though never felt that it provided enough freedom and flexibility. In 2013, I progressed into sixth form college where I was approached by a peer who had been working on a dramatic adaptation of Robert Louis Stevenson’s Treasure Island; he asked if I would write the score. I started to notate my ideas in Noteflight but soon became fed-up whilst battling with its limitations. As a student, unable to afford a software solution such as Sibelius or Finale, I searched for free music notation programs and immediately came across MuseScore. MuseScore saw me through the Treasure Island project and I even opted to use it over Sibelius (available on the college computers) when writing my final A-level music compositions. To this date, I use MuseScore exclusively and haven’t found myself needing anything more! What motivates you to compose? There are many composers’ works I currently enjoy listening to and take inspiration from, such as those of Sibelius, Rachmaninov and Stravinsky; most notable, however, is the music of Shostakovich. Shostakovich’s fluid dynamic transitions and inventive use of chromaticism and chromatic alteration, whilst still being grounded in tonality, is very appealing to me—my piece Marche Macabre is probably most evocative of Shostakovich’s style. The satisfaction in having a piece of music that is yours and yours alone is one of the biggest motivations for me and MuseScore provides a brilliant platform for composers to reach an audience they would not otherwise have access to. Any feedback I receive on my pieces (good or bad!) is also a great motivation and encourages me to develop as a composer. I find musical composition to be very therapeutic and as a mathematics student, it provides a creative outlet that I would not necessarily get otherwise. What is your typical composing workflow like? Any new piece generally begins its life at the piano, where I take note of any harmonic progressions, melodies and motifs that catch my ear. Once my initial ideas are formed I play around a little with the orchestration, deciding on which timbres suit certain melodies. With the main theme established, I allow the composition to develop as far as possible before my inspiration starts to falter, at which point I return to the piano. Once the composition reaches a stage where it makes sense musically and all the various components are in place, I listen to it in its entirety a few times over. At this point, I will perhaps move some parts to different instruments, fill out harmony in places, add embellishments and generally refine the piece. Finally, I go through and adjust any articulation or ornamentation that is misplaced or missing completely and improve the overall aesthetic of the score. What have you shared on MuseScore.com that you’re most proud of? There are two pieces of mine which I consider most musically “mature”—my Serenade No. 3 in A minor and Marche Macabre in C minor. Of the two, however, I would say that I am most proud of the latter. Marche Macabre by timweaving Watch for our next MuseScorer of the month in August! [Less]

So far our Kickstarter campaign has raised 65% of the funding required to make OpenScore a success, and we only have 10 days left to get to 100%. Kickstarter funding is all-or-nothing, so if we don’t reach the target then we won't be able to review ... [More] your contributions and turn them into OpenScore editions. You can help us by sharing the campaign on social media, telling all of your friends about it, and backing it if you can. Another way to help is by sending us your existing transcription. Thanks to the generous contributions of the community, we have been able to put together the very first OpenScore editions over at https://musescore.com/openscore. If you want to see your transcription added to the collection then keep reading to find out what you need to do. https://musescore.com/openscore/scores/4053926 How to submit a transcription Make sure your transcription is uploaded it to your online MuseScore account, and then send us an email containing: A link to your score(s) on MuseScore.com. e.g. https://musescore.com/user/115109/scores/3232771 The link to the IMSLP page for the work you transcribed. e.g. http://imslp.org/wiki/F%C3%BCr_Elise,WoO_59(Beethoven,_Ludwig_van) The reference number of the particular IMSLP edition you used. e.g. #103834 Send the email to [email protected] with "OpenScore submission" and the name of the work in the subject line. (If you are sending multiple works just put one or two of them in the subject line.) Requirements for submissions We can only use your transcription if it meets the following requirements: It is complete. (A few mistakes are OK, but there mustn’t be any music missing.) It is an exact (or near exact) transcription of an IMSLP edition - not your own arrangement. The IMSLP edition is in the public domain worldwide (not only in certain countries). You agree to waive all rights on the transcription under Creative Commons Zero. Recommendations These are suggested requirements which are prepared to overlook in certain situations: Where possible, we prefer transcriptions to be based on printed editions rather than handwritten manuscripts. Transcriptions should stick to the language of the original. All titles, instrument names and text should be in the same language as the IMSLP edition. Exceptions may be made if the IMSLP edition uses a non-latin alphabet. FAQs Can I submit multiple pieces? Sure! Please send them all in the one email, or as a reply to the original email if you have already sent it. Do I need to extract parts and submit them separately? No, you do not need to extract parts. Just submit the full score. My piece has multiple movements. Should I submit them together or separately? Ideally you should use a separate file for each movement and send us one email with links to all of the movements. If you joined the movements together into one file that is also acceptable. Can I submit a single movement from a piece with multiple movements? Not at the present time. If you transcribe a work with multiple movements then you must have transcribed all of the movements. What if there are multiple pieces in one IMSLP edition? There will be one OpenScore Edition per IMSLP edition, so if there are multiple pieces in a single IMSLP edition then you must have transcribed all of them (ideally in separate score files). For example, this IMSLP edition contains two pieces, so we cannot accept a transcription of one without the other. However, the two pieces on this IMSLP page have separate editions, so you only have to send one. As another example, each of Bach’s Brandenburg concertos has its own IMSLP page, so it’s OK to send us a transcription of just one of them. Thank you for your support. Please remember to share the campaign. We look forward to seeing your transcriptions! Previous Section Next OpenScore: Happy Birthday Gabriel Fauré! shoogle's blog OpenScore: how and what to transcribe! [Less]

So far our Kickstarter campaign has raised 65% of the funding required to make OpenScore a success, and we only have 10 days left to get to 100%. Kickstarter funding is all-or-nothing, so if we don’t reach the target then we won't be able to review ... [More] your contributions and turn them into OpenScore editions. You can help us by sharing the campaign on social media, telling all of your friends about it, and backing it if you can. Another way to help is by sending us your existing transcription. Thanks to the generous contributions of the community, we have been able to put together the very first OpenScore editions over at https://musescore.com/openscore. If you want to see your transcription added to the collection then keep reading to find out what you need to do. https://musescore.com/openscore/scores/4053926 How to submit a transcription Make sure your transcription is uploaded it to your online MuseScore account, and then send us an email containing: A link to your score(s) on MuseScore.com. e.g. https://musescore.com/user/115109/scores/3232771 The link to the IMSLP page for the work you transcribed. e.g. http://imslp.org/wiki/F%C3%BCr_Elise,WoO_59(Beethoven,_Ludwig_van) The reference number of the particular IMSLP edition you used. e.g. #103834 Send the email to [email protected] with "OpenScore submission" and the name of the work in the subject line. (If you are sending multiple works just put one or two of them in the subject line.) Requirements for submissions We can only use your transcription if it meets the following requirements: It is complete. (A few mistakes are OK, but there mustn’t be any music missing.) It is an exact (or near exact) transcription of an IMSLP edition - not your own arrangement. The IMSLP edition is in the public domain worldwide (not only in certain countries). You agree to waive all rights on the transcription under Creative Commons Zero. Recommendations These are suggested requirements which are prepared to overlook in certain situations: Where possible, we prefer transcriptions to be based on printed editions rather than handwritten manuscripts. Transcriptions should stick to the language of the original. All titles, instrument names and text should be in the same language as the IMSLP edition. Exceptions may be made if the IMSLP edition uses a non-latin alphabet. FAQs Can I submit multiple pieces? Sure! Please send them all in the one email, or as a reply to the original email if you have already sent it. Do I need to extract parts and submit them separately? No, you do not need to extract parts. Just submit the full score. My piece has multiple movements. Should I submit them together or separately? Ideally you should use a separate file for each movement and send us one email with links to all of the movements. If you joined the movements together into one file that is also acceptable. Can I submit a single movement from a piece with multiple movements? Not at the present time. If you transcribe a work with multiple movements then you must have transcribed all of the movements. What if there are multiple pieces in one IMSLP edition? There will be one OpenScore Edition per IMSLP edition, so if there are multiple pieces in a single IMSLP edition then you must have transcribed all of them (ideally in separate score files). For example, this IMSLP edition contains two pieces, so we cannot accept a transcription of one without the other. However, the two pieces on this IMSLP page have separate editions, so you only have to send one. As another example, each of Bach’s Brandenburg concertos has its own IMSLP page, so it’s OK to send us a transcription of just one of them. Thank you for your support. Please remember to share the campaign. We look forward to seeing your transcriptions! Previous Section Next OpenScore: Happy Birthday Gabriel Fauré! shoogle's blog [Less]

Welcome to June’s edition of “MuseScorer of the month.” This is your chance to get to know one of MuseScore.com’s many brilliant members each month of the year. We’re featuring a wide variety of composers and types of music in this series, as well as ... [More] some members who use MuseScore to transcribe and share public domain sheet music. Last month, we introduced you to ClassicMan. This month, meet French-Canadian saxophonist Pierre-Hugues Carmichael, aka pcarmich! How did you discover MuseScore? As an amateur saxophonist wanting to improve, what I found written for sax was either for school children or required more dexterity than I could fathom. I always liked Bach’s cello suites and thinking that it might not be too hard to transpose them for the tenor saxophone, I bought a copy of the scores and set about finding a program that might help me with the transposition. That’s when I stumbled upon one of the very early releases of MuseScore (in 2008 or 2009, I think, and the version was 0.something). It was a bit buggy at times, but it had no restrictions in terms of notation, and there was a promise that a first official 1.0 release was coming soon. What motivates you to transcribe? An idea started forming in my head about recruiting a few partners and forming a saxophone quartet. I wanted to play classical pieces that would be “widely” recognizable (hasn’t happened yet but the dream isn’t dead). So I set about transposing and arranging classical pieces for the saxophone quartet. I make a conscious effort to try to limit myself to public domain works. What is your typical transcribing workflow like? I usually start with a paper score. If it’s a piano piece, then I start in MuseScore with two piano parts of two staves each (because I find it useful to be able to have the voices on individual staves) and the saxophone quartet parts. I then transcribe the piece and then set about arranging it. That usually means copy/pasting the soprano, alto, tenor and baritone voices to for each saxophone and then doing some deletions. It is at this stage that I learn a lot, because the composer usually writes the notes that are necessary and I want to give a sense of this despite the compression I’m doing. I’m sure I haven’t always succeeded but I’m always experimenting different techniques to accomplish this, which is why I find the playback function in MuseScore so useful. What have you shared on MuseScore.com that you’re most proud of? I started by arranging a couple of movements of Pictures at an Exhibition, a favourite of mine since childhood. I completed it a few years ago, and recently used the Album function to create one massive score for saxophone quartet that I uploaded. I was really happy with how it turned out. I’m also very proud of a short arrangement I made of themes from Peter and the Wolf, another childhood favourite. This year, I received an email from someone who recorded three movements of Kinderszenen and that is beyond anything I could have hoped when I signed up 6 years ago, knowing that my very humble attempts at preparing scores for personal use actually inspired someone else to go out and make music. Themes from Peter and the Wolf. by pcarmich Watch for out next MuseScorer of the month in July! [Less]

Welcome to June’s edition of “MuseScorer of the month.” This is your chance to get to know one of MuseScore.com’s many brilliant members each month of the year. We’re featuring a wide variety of composers and types of music in this series, as well as ... [More] some members who use MuseScore to transcribe and share public domain sheet music. Last month, we introduced you to ClassicMan. This month, meet French-Canadian saxophonist Pierre-Hugues Carmichael, aka pcarmich! How did you discover MuseScore? As an amateur saxophonist wanting to improve, what I found written for sax was either for school children or required more dexterity than I could fathom. I always liked Bach’s cello suites and thinking that it might not be too hard to transpose them for the tenor saxophone, I bought a copy of the scores and set about finding a program that might help me with the transposition. That’s when I stumbled upon one of the very early releases of MuseScore (in 2008 or 2009, I think, and the version was 0.something). It was a bit buggy at times, but it had no restrictions in terms of notation, and there was a promise that a first official 1.0 release was coming soon. What motivates you to transcribe? An idea started forming in my head about recruiting a few partners and forming a saxophone quartet. I wanted to play classical pieces that would be “widely” recognizable (hasn’t happened yet but the dream isn’t dead). So I set about transposing and arranging classical pieces for the saxophone quartet. I make a conscious effort to try to limit myself to public domain works. What is your typical transcribing workflow like? I usually start with a paper score. If it’s a piano piece, then I start in MuseScore with two piano parts of two staves each (because I find it useful to be able to have the voices on individual staves) and the saxophone quartet parts. I then transcribe the piece and then set about arranging it. That usually means copy/pasting the soprano, alto, tenor and baritone voices to for each saxophone and then doing some deletions. It is at this stage that I learn a lot, because the composer usually writes the notes that are necessary and I want to give a sense of this despite the compression I’m doing. I’m sure I haven’t always succeeded but I’m always experimenting different techniques to accomplish this, which is why I find the playback function in MuseScore so useful. What have you shared on MuseScore.com that you’re most proud of? I started by arranging a couple of movements of Pictures at an Exhibition, a favourite of mine since childhood. I completed it a few years ago, and recently used the Album function to create one massive score for saxophone quartet that I uploaded. I was really happy with how it turned out. I’m also very proud of a short arrangement I made of themes from Peter and the Wolf, another childhood favourite. This year, I received an email from someone who recorded three movements of Kinderszenen and that is beyond anything I could have hoped when I signed up 6 years ago, knowing that my very humble attempts at preparing scores for personal use actually inspired someone else to go out and make music. Themes from Peter and the Wolf. by pcarmich Watch for out next MuseScorer of the month in July! [Less]

Welcome to June’s edition of “MuseScorer of the month.” This is your chance to get to know one of MuseScore.com’s many brilliant members each month of the year. We’re featuring a wide variety of composers and types of music in this series, as well as ... [More] some members who use MuseScore to transcribe and share public domain sheet music. Last month, we introduced you to ClassicMan. This month, meet French-Canadian saxophonist Pierre-Hugues Carmichael, aka pcarmich! How did you discover MuseScore? As an amateur saxophonist wanting to improve, what I found written for sax was either for school children or required more dexterity than I could fathom. I always liked Bach’s cello suites and thinking that it might not be too hard to transpose them for the tenor saxophone, I bought a copy of the scores and set about finding a program that might help me with the transposition. That’s when I stumbled upon one of the very early releases of MuseScore (in 2008 or 2009, I think, and the version was 0.something). It was a bit buggy at times, but it had no restrictions in terms of notation, and there was a promise that a first official 1.0 release was coming soon. What motivates you to transcribe? An idea started forming in my head about recruiting a few partners and forming a saxophone quartet. I wanted to play classical pieces that would be “widely” recognizable (hasn’t happened yet but the dream isn’t dead). So I set about transposing and arranging classical pieces for the saxophone quartet. I make a conscious effort to try to limit myself to public domain works. What is your typical transcribing workflow like? I usually start with a paper score. If it’s a piano piece, then I start in MuseScore with two piano parts of two staves each (because I find it useful to be able to have the voices on individual staves) and the saxophone quartet parts. I then transcribe the piece and then set about arranging it. That usually means copy/pasting the soprano, alto, tenor and baritone voices to for each saxophone and then doing some deletions. It is at this stage that I learn a lot, because the composer usually writes the notes that are necessary and I want to give a sense of this despite the compression I’m doing. I’m sure I haven’t always succeeded but I’m always experimenting different techniques to accomplish this, which is why I find the playback function in MuseScore so useful. What have you shared on MuseScore.com that you’re most proud of? I started by arranging a couple of movements of Pictures at an Exhibition, a favourite of mine since childhood. I completed it a few years ago, and recently used the Album function to create one massive score for saxophone quartet that I uploaded. I was really happy with how it turned out. I’m also very proud of a short arrangement I made of themes from Peter and the Wolf, another childhood favourite. This year, I received an email from someone who recorded three movements of Kinderszenen and that is beyond anything I could have hoped when I signed up 6 years ago, knowing that my very humble attempts at preparing scores for personal use actually inspired someone else to go out and make music. Themes from Peter and the Wolf. by pcarmich Watch for out next MuseScorer of the month in July! [Less]

MuseScore 2.1 and previous versions can send MIDI messages to external devices or synthesizers using JACK. Jack offers many great professional features, but unfortunately it’s hard to install on Windows and macOS, as it’s primarily a Linux software. ... [More] For many years, we didn’t want MuseScore to have an easier way to send MIDI events to the outside world, for two main reasons. MuseScore is first and foremost a music notation software. Its purpose is to easily create beautiful sheet music. Playback is nice, but the core team wants to focus on the notation. We were (and still are) worried that if we offer minimal support for MIDI out, we would get many feature requests to improve it, sometimes in ways that are not possible, or that we prefer to not spend our time on, or that would make MuseScore complex to use for users who don’t care about MIDI. Eric Fontaine was not happy with this state of affairs and really wanted to make MuseScore usable on a low end device where the internal synth takes a lot of CPU cycles and MIDI out would be more performant. So he checked the various available libraries (RtMidi, PortMidi etc…) and decided to use PortMidi, which MuseScore already uses for MIDI in. After > 100 comments and some code, we now have MIDI out in master! You can test with a nightly build. How to enable MIDI out MIDI out is not enabled by default. You need to go to Preferences / I/O and choose an option for MIDI output. If you use an external device, it’s probably the name of your device. If you use a software synth, you might need virtual MIDI cables. Note that MuseScore will send MIDI events out to the selected device but it will also send the events to its own built-in synthesizer. If you don’t want to hear the built-in synth, you will need to either lower the volume, or remove the SoundFont in View / Synthesizer. Note about output buffer latency: if this is set to 0, then messages are sent as soon as possible after MuseScore sends them to PortMidi, and might sound before the playback cursor. You can set this greater than 0 to try to find a value that will cause the notes to sound at the same time of the playback cursor. What you can do currently with this feature? Play a simple score through an external MIDI device (keyboard, synthesizer, etc…) Play a simple score through a virtual instrument in standalone mode What you can’t do with this feature? Play an overly complex score out of the box. MuseScore is not a sequencer and its basic MIDI support is limited to the default 16 channels (also, no automation, no custom sysex etc…) Send a MIDI song position event Send a MIDI clock signal Synchronize different MIDI devices or software together This feature might evolve depending on your feedback. However, we will make sure that we do not overload the software with dozens of options dedicated to MIDI out specifically. [Less]

Gabriel Fauré (12 May 1845 – 4 November 1924) We went public with OpenScore back in February at FOSDEM 2017, when we told the world about our plan to liberate public domain sheet music. Since then, we’ve been really busy spreading the word, meeting ... [More] up with partners and other interested parties, creating demos and showcase projects, and generally getting everything ready for the upcoming launch of the Kickstarter campaign (not long to wait now!). Pilot transcription While all that’s been going on, we’ve also been running a small pilot to make sure the whole transcription process is as smooth as possible. A small number of MuseScore.com members were invited to take part in a trial transcription of Fauré’s Requiem. As today is Gabriel Fauré’s 172nd Birthday, we thought it would be appropriate to share it with you now. (Please be aware that this is an unfinished preview version and as such is likely to contain lots of errors and layout problems. We need your help to get it ready for final release! More on this below.) https://musescore.com/user/16916841/scores/3896176 Process Starting with a PDF scan of the original score from IMSLP, we divided it up into small chunks, each just a few pages in length. These were sent out to the volunteer transcribers, along with an empty MuseScore template document with all the instruments already added. The transcribers were given a few days to complete their pages and upload them to be checked by a member of the admin team. If no errors were found then transcription was accepted straight away and the transcriber was rewarded with a month of MuseScore PRO membership. If errors were found then score was sent back to the transcriber along with comments about what they needed to improve, and they were given a bit more time to make those improvements and get the reward. We were really impressed with what we saw, and in one or two cases we were able to accept the transcription straight away. However, in most cases there were at least a few mistakes, or places where the transcriber hadn’t been aware that there was a better way to do whatever it was that they had been trying to do. However, they all did a great job of making the changes we asked for, and we didn’t have to reject any transcriptions! Guidelines If you are interested in transcribing then you might like to take a look at this set of guidelines which I put together to help transcribers. The guidelines describe the most common errors we saw in transcriptions and explain how to avoid them. Visualisation of Fauré’s Requiem by Nicholas Rougeux Previous Section Next OpenScore: Join the transcription effort! shoogle's blog [Less]

Gabriel Fauré (12 May 1845 – 4 November 1924) We went public with OpenScore back in February at FOSDEM 2017, when we told the world about our plan to liberate public domain sheet music. Since then, we’ve been really busy spreading the word, meeting ... [More] up with partners and other interested parties, creating demos and showcase projects, and generally getting everything ready for the upcoming launch of the Kickstarter campaign (not long to wait now!). Pilot transcription While all that’s been going on, we’ve also been running a small pilot to make sure the whole transcription process is as smooth as possible. A small number of MuseScore.com members were invited to take part in a trial transcription of Fauré’s Requiem. As today is Gabriel Fauré’s 172nd Birthday, we thought it would be appropriate to share it with you now. (Please be aware that this is an unfinished preview version and as such is likely to contain lots of errors and layout problems. We need your help to get it ready for final release! More on this below.) https://musescore.com/user/16916841/scores/3896176 Process Starting with a PDF scan of the original score from IMSLP, we divided it up into small chunks, each just a few pages in length. These were sent out to the volunteer transcribers, along with an empty MuseScore template document with all the instruments already added. The transcribers were given a few days to complete their pages and upload them to be checked by a member of the admin team. If no errors were found then transcription was accepted straight away and the transcriber was rewarded with a month of MuseScore PRO membership. If errors were found then score was sent back to the transcriber along with comments about what they needed to improve, and they were given a bit more time to make those improvements and get the reward. We were really impressed with what we saw, and in one or two cases we were able to accept the transcription straight away. However, in most cases there were at least a few mistakes, or places where the transcriber hadn’t been aware that there was a better way to do whatever it was that they had been trying to do. However, they all did a great job of making the changes we asked for, and we didn’t have to reject any transcriptions! Guidelines If you are interested in transcribing then you might like to take a look at this set of guidelines which I put together to help transcribers. The guidelines describe the most common errors we saw in transcriptions and explain how to avoid them. Peer review Once the transcriptions have been collected and joined together, it's time to check the full score to look for: Errors that escaped notice during the first check Inconsistencies between sections transcribed by different people Issues that arise during the joining process We'll need your help to be able to spot all these things and put them right. We'll soon launch a new tool for MuseScore.com which will allow you to click on the exact part of a score where a problem lies and leave a comment to bring it to our attention. Publishing an OpenScore Edition The final step in the process of creating an OpenScore Edition is to give it a nice cover page. For this purpose, we're teaming up with Nicholas Rougeux, a digital artist and web designer based in Chicago. Nicholas created visualisations of sheet music for his Off The Staff project, and he has agreed to create a visualisation of each OpenScore Edition. Visualisation of Fauré’s Requiem by Nicholas Rougeux The visualisation should be read clockwise starting from the 12 o’clock position. Each circle represents a note in the score; the size of the circle represents the duration of the note, while the pitch is indicated by the distance from the centre of the image. Read on OpenScore blog: https://www.openscore.cc/blog/2017/5/15/openscore-happy-birthday-gabriel... Previous Section Next OpenScore: Join the transcription effort! shoogle's blog OpenScore: First editions available! How to submit... [Less]

Gabriel Fauré (12 May 1845 – 4 November 1924) We went public with OpenScore back in February at FOSDEM 2017, when we told the world about our plan to liberate public domain sheet music. Since then, we’ve been really busy spreading the word, meeting ... [More] up with partners and other interested parties, creating demos and showcase projects, and generally getting everything ready for the upcoming launch of the Kickstarter campaign (not long to wait now!). Pilot transcription While all that’s been going on, we’ve also been running a small pilot to make sure the whole transcription process is as smooth as possible. A small number of MuseScore.com members were invited to take part in a trial transcription of Fauré’s Requiem. As today is Gabriel Fauré’s 172nd Birthday, we thought it would be appropriate to share it with you now. (Please be aware that this is an unfinished preview version and as such is likely to contain lots of errors and layout problems. We need your help to get it ready for final release! More on this below.) https://musescore.com/user/16916841/scores/3896176 Process Starting with a PDF scan of the original score from IMSLP, we divided it up into small chunks, each just a few pages in length. These were sent out to the volunteer transcribers, along with an empty MuseScore template document with all the instruments already added. The transcribers were given a few days to complete their pages and upload them to be checked by a member of the admin team. If no errors were found then transcription was accepted straight away and the transcriber was rewarded with a month of MuseScore PRO membership. If errors were found then score was sent back to the transcriber along with comments about what they needed to improve, and they were given a bit more time to make those improvements and get the reward. We were really impressed with what we saw, and in one or two cases we were able to accept the transcription straight away. However, in most cases there were at least a few mistakes, or places where the transcriber hadn’t been aware that there was a better way to do whatever it was that they had been trying to do. However, they all did a great job of making the changes we asked for, and we didn’t have to reject any transcriptions! Guidelines If you are interested in transcribing then you might like to take a look at this set of guidelines which I put together to help transcribers. The guidelines describe the most common errors we saw in transcriptions and explain how to avoid them. Peer review Once the transcriptions have been collected and joined together, it's time to check the full score to look for: Errors that escaped notice during the first check Inconsistencies between sections transcribed by different people Issues that arise during the joining process We'll need your help to be able to spot all these things and put them right. We'll soon launch a new tool for MuseScore.com which will allow you to click on the exact part of a score where a problem lies and leave a comment to bring it to our attention. Publishing an OpenScore Edition The final step in the process of creating an OpenScore Edition is to give it a nice cover page. For this purpose, we're teaming up with Nicholas Rougeux, a digital artist and web designer based in Chicago. Nicholas created visualisations of sheet music for his Off The Staff project, and he has agreed to create a visualisation of each OpenScore Edition. Visualisation of Fauré’s Requiem by Nicholas Rougeux The visualisation should be read clockwise starting from the 12 o’clock position. Each circle represents a note in the score; the size of the circle represents the duration of the note, while the pitch is indicated by the distance from the centre of the image. Previous Section Next OpenScore: Join the transcription effort! shoogle's blog OpenScore: First editions available! How to submit... [Less]