The first week of GSoC 2016 is over now and I already have created a PR.

Last week

My first goal for GSoC was to not allow gaps in the MuseScore implementation any more. I added a new attribute of rests called 'trulyInvisible'. If you are deleting a rest, it isn't erased in the timeline, it just gets the attribute trulyInvisible. This means, that the rest isn't selectable by clicking on it or navigating to it with the cursor.

Hi,
I'm already doing quite some blogging but I think having a short week summary is actually a good idea to see if I'm on track and have a short overview what is going on without too much detail.

The week started with a very technical blog post about volume in Fluidsynth. There was some good conversation with lasconic and churchorganist. I think I'm quite sure which road I'll take to have good (de)crescendo. I'll focus on CC11 over velocity

Okay, here's part 3 of my blog!

So, from what I know, MuseScore 1 was alright. I have never used it since I discovered MuseScore at the time of 2.0.1. Then MuseScore 2 came out and it started to be a rather mild competitor with many of the more commonly used programs like Finale and Sibelius.

Then, I started testing the beta for 3.0.0 and let me just say, MuseScore has had its first dose of steroids. I can sense

Hello,
in this blog post I want to write about how the volume is calculated in Fluidsynth and describe why I think this solution is problematic.

Lets start at Fluidsynth's heart - the write method of a voice. That is the essential part that generates the actual audio. It generates n samples and adds them to the output. This method gets called in a real time context by the main synth process. Lets have a look at the part that

Hi,
some things happened since the last post. So here is a update on what I'm up to. If you don't have so much time please scroll down to the second part (starting with feedback wanted) and leave a comment. I'm very interested in what users thing about my plans for GSoC!

What happened since the last post?

Metric modulation

After Jojo-Schmitz had a look into my very first PR to MuseScore - which is about fixing problems with parts

Okay, so I figured I should go ahead and post part two of my blog.
Now, I am giving an honest opinion on this, I in no way am trying to discourage. Overall, I will acknowledge that MuseScore is a great notation program.

Cons
When I started, I instantly noticed that there were a few bugs in the system. Most of them were corrected. What I didn't like was that there was a tendency for words and notes to overlap.

I always loved composing when I was very young. I played the piano since third grade and starting fifth grade, I started writing my own piano pieces. However, it took a long time to notate them on paper and I had a bad habit of taking frequent breaks when I wrote them down. Then, there would be moments where I realized that the melody would sound better with a different key. That would result in me erasing everything and then

In the future it should be possible to have parts for every single voice in your score, so the idea is, that you can have a main score with SATB and piano with S, A, T and B in one stave and one excerpt with SA-TB, S and A in one staff and T and B in another and another excerpt with every voice in a single excerpt.

To achieve this, a new layout for the excerptsdialog is needed. So

Hi! My name is Peter, and I have been selected to work with MuseScore for this year’s Google Summer of Code. My project is titled “Semi-Realtime MIDI”, and the aim is to create a new mode of note entry for MuseScore - or actually a few different modes - that would basically allow users to enter notes by performing the piece on a MIDI keyboard and having MuseScore translate the performance into the correct musical notation.

You can keep up