Marc Sabatella


publishedabout 1 month ago
1 min read

Hello! This week in the Music Master Class we'll be talking about collaboration, so if you're been itching to create music with others, this is an episode you won't want to miss!

MuseScore Café

This week in the MuseScore Café with Marc Sabatella, we look at the formatting of a single part from the Brahms symphony whose score we shrank last week. Manual positioning, spacing, determination of appropriate line and page breaks - there's an art to making parts readable!

The MuseScore Café is live on Wednesday at 12:30 PM Eastern (16:30 GMT), and you can access past episodes in the archive.

Tip of the Week

MuseScore maintains independent style settings for the score and each of its parts. This is normally good, because you may well need to tweak style style settings individually (eg, different spacing settings for different parts). But very often, change you make to style settings for one part should apply to them all. So, MuseScore gives you a button to do just that. After getting style settings for one part the way you like, just press the Apply to all Parts button under Format / Style:

Music Master Class

This week we will be talking about collaboration! We will look at a Composition Round Robin started by William Halsted , and at a piece by Abraham Ben-Ze'ev that comes with a fun little challenge. I will also talk about a collaborative recording I am making of my composition Pie Jesu.

The Music Master Class is live on Thursday at 12:30 PM Eastern (16:30 GMT), and you can access past episodes in the archive.

In Theory

As we continue to consider Brahms' first symphony, I am again reminded of how it is possible to spin a lot of great music out of a few relatively simple themes. There are basically two skills here - coming up with themes worthy of this sort of treatment, and then figuring out how to develop them.

In studying music theory and composition, we usually spend far more time on the how to develop a theme than on how to create a theme in the first place. What makes a great theme, and how does one learn to create one? How does the answer depend on the style of the piece? For that matter, how do we even define the word "theme" in this context? is it just a melody, or a melody along with its implied harmonies, or is it something more (or less) than that?

These are all interesting questions with no easy answers, but sometimes, simply thinking about these issues is the first step.

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