My name is Marc Sabatella, and I am the founder of Outside Shore Music - a pioneer of online music education since the dawn of the web. As the creator of Mastering MuseScore, A Jazz Improvisation Primer, and other resources, I have dedicated most of my life to helping as many musicians as I can. Subscribe to my free newsletter for MuseScore tips, theory insights, and more information on how to create your best music!
Hello! As you know, I enjoy helping people learn how to use MuseScore and also about creating music in general - theory, composition, improvisation, etc. In the survey I sent out a few months ago, I found that many of you have the same preferences - the percentages of people interested in learning about MuseScore versus learning about creaitng music in general were almostequally high.
With this in mind, I've been giving a lot of thought to the idea of "Mastering MuseScore" and how I could be serving more people better. If you haven't seen this already, please check out my post What's in a name? in the Community. I'd love to get your feedback on the things I discuss there! Remember the Community is free to join; just click the "Log in" button to get started.
This week in the MuseScore Café with Marc Sabatella, we continue our third-Wednesday "score of the month" series with a piano piece that @Michael Olson (aka fretlessman71) has been working on entering into MuseScore. Lots of interesting decisions to make as to the best way to notate various piano techniques, so plenty to talk about and learn from here!
The free MuseScore Café is live on Wednesday at 12:30 PM Eastern (16:30 GMT, or 17:30 during the winter months), and you can access past episodes in the archive.
Like many piano pieces, the one we will be looking at on Wednesday involves the damper pedal. MuseScore supports the two most common notations for this, and both are found on the "Lines" palette., Be sure to be in the Advanced as opposed to Basic workspace in order to see these.
The traditional notation consists of the abbreviation "Ped" in a fancy script that many people mistake for the word "Leo" or something similar, plus a symbol that looks a little like a snowflake (or, more disturbingly, like a coronavirus):
The more modern notation skips the fancy scripts and symbols and just uses lines. This method has the advantage of allowing a very simple and compact notation for the quick pedal change that is such a lareg part of piano technique - pedal up and down in one fluid motion while striking a note:
These markings are created by adding the two separate segments that look like "___/" and "\___", and making sure the second starts right where the first ends. A common mistake is to end the first on the note before the intended change, which produces the wrong result:
So in creating these pedal changes, be sure to always select the desired note both to end the first pedal line segment and to start the next.
This week, I will give you some additional pointers regarding our contest, including some observations about orchestration inspired by a post about Beethoven. And we'll look at a wonderful fugue for brass quintet (work in progress) by Joel J Seda Orona .
The free Music Master Class is live on Thursday at 12:30 PM Eastern (16:30 GMT, or 17:30 during the winter months), and you can access past episodes in the archive.
I want to keep reminding everyone about our contest where you can win a free year of access to my courses and other premium resources, so I'm going to share a bit of practical advice about the process of write a melodying to fit a chord progression. These principles are distilled from the voice leading advice found in online courses on harmony and on counterpoint:
Here's an example:
I encourage you to analyze this example (does anyone recognize it?) to see how the advice above applies. Feel free to post your thoughts to the Community!
by Marc Sabatella
My name is Marc Sabatella, and I am the founder of Outside Shore Music - a pioneer of online music education since the dawn of the web. As the creator of Mastering MuseScore, A Jazz Improvisation Primer, and other resources, I have dedicated most of my life to helping as many musicians as I can. Subscribe to my free newsletter for MuseScore tips, theory insights, and more information on how to create your best music!
Hello, hello! This week in Practical Counterpoint, we begin the section on imitation, so you can look forward to hearing much about that. This week I also am starting the ball rolling towards crowd-sourcing a library of high-quality scores in MuseScore format. We'll discuss this during Wednesday's MuseScore Café, and hopefully return to the subject in the weeks ahead. My goal is to eventually have a reliable way of finding the "best" MuseScore editions of any given piece for further study....
Hello! Thanks for bearing with me over the past week as I was setting up my new studio. While I still have work to do, we should be back to business as usual with respect to my live events.Meanwhile, this week in Practical Counterpoint, we're wrapping up our initial exploration of writing for three or more voices, and in Music Master Class we'll be looking at your projects on this topic. Mastering MuseScore If you are interested in getting the most out of the world's most popular music...
Hello! I wanted to give you a heads up that I am in the process of setting up a new studio, so bear with me if there are any glitches in my live events this week.Meanwhile, this week in the Practical Counterpoint course, we're continuing to expand to three parts and beyond. I'll be posting some new things for us to work on shortly. Mastering MuseScore If you are interested in getting the most out of the world's most popular music notation software, join our community with a Mastering...