What Do *You* Use MuseScore For?

• 5 years ago

With 3,000,000 people having downloaded MuseScore, I imagine there must be quite a few of us doing interesting things with it. From newcomers to music software writing their first compositions, to hobbyists looking for a better, easier, and/or cheaper way to notate their music, to professional musicians, educators, and composers creating works for performance and even publication - I expect MuseScore is being used for all these things and more.

So how about it? Let's hear your stories!


I am a full-time professional freelance musician. What that means is that I do a number of different things that all add up to making a living. In addition to performing, I also teach at a couple of universities, teach privately, create and sell educational materials, direct a couple of community ensembles, do transcriptions and arrangements for others on a contract basis, and whatever else comes along. MuseScore has become an important part of each of these activities.

As a jazz musician, a lot of my gigs are with small ensembles and we often get to perform my own compositions. There are over 50 originals in my current repertoire, mostly in lead sheet format. While the majority of these were originally written before MuseScore and were thus done in Finale (or Notator before that), I have gone ahead and re-written all my lead sheets in MuseScore. In addition to being a great learning exercise for me and a way of finding areas for improvement in MuseScore, I also find that having all my compositions in a similar format makes for a more professional presentation. Plus, I have learned a lot over the years about how to make charts easier to read and also how to make them more complete so I don't have to explain the arrangements every time I work with a new musician. Most of my MuseScore charts are significantly improved over the previous versions, and creating the MuseScore versions has proven to be easier than it ever was with other programs.

Here is an example of a lead sheet I regularly use on gigs: http://musescore.com/marcsabatella/scores/21757

Some of my original compositions are not designed to be simple lead sheets, but instead require arrangements for the specific type of ensemble I plan to use. Because these compositions might be played by in a variety of different configurations - perhaps one day in a quartet with trumpet, another day in a duo with alto saxophone, another day as a piano trio, and another day with the octet I have assembled - I like that I can arrange for one ensemble but easily alter the arrangement later to change instrumentation.

Here is an example of an arrangement I put together for a septet with trumpet, tenor, and trombone plus rhythm, but which I plan to adapt to fit other ensembles: http://musescore.com/marcsabatella/scores/40998

For a performance coming up soon, I have chosen to adapt this and other compositions of mine to be performed by piano with string quartet. Here is that version of that same piece shown above: http://musescore.com/marcsabatella/scores/42809

I also use MuseScore to produce charts of songs for use vocalists, as they often want to do them in keys other than the ones used in the available fakebooks. The transposition feature of MuseScore makes this very easy, no matter how many different singers I work with or how many times they change their minds about what key they wish to do the song in.

Here is an example of a song where I have changed transposition several times to accomodate vocalists: http://musescore.com/marcsabatella/scores/30160

In my teaching, I show my students how to use MuseScore in completing their assignments as well as in their own musical pursuits. We have used it for everything from producing scale charts to transcribing recorded solos to analysis to writing combo arrangements.

Here is an example of a melodic analysis I posted for my class as a demonstration; my students each completed a similar analysis: http://musescore.com/marcsabatella/scores/40991

I have also used MuseScore to produce examples to use as standalone teaching devices or for inclusion in written education materials.

Here is an example of a handout I use with piano students: http://musescore.com/marcsabatella/scores/27223

For the ensembles I direct, I often create my own arrangements tailored to the specific needs of the members. At one university where I teach, the jazz ensemble currently consists of a flute, four saxophones, a trombone, a piano, an electric keyboard, guitar, bass, and drums. The flute player and tenor saxophone player are beginners on their instruments, but the rest of the players are more experienced, and I sometimes play on melodica as necessary while conducting. Needless to say, there are no published arrangements for that particular instrumentation, so when I wish to have us do something more than just playing from fakebooks, I have to create my own arrangements.

Here is an excerpt from an arrangement I created for this ensemble: http://musescore.com/marcsabatella/scores/37723

Sometimes I create arrangements for more "generic" types of ensemble (eg, standard big band, SATB vocal group) with the thought that I might then find someone that would be interested in performing them, or that I might publish them.

Here is an a cappella composition I wrote that was performed by the vocal jazz combo at the University of Denver: http://musescore.com/node/41583

Although I am primarily a jazz musician, that doesn't mean I don't like to compose classical or other types of music sometimes, whether or not I have a particular purpose in mind for the piece or not.

Here is an example of a semi-classical solo piano piece I composed as a demo score for MuseScore: http://musescore.com/marcsabatella/reunion

The sort of things that other people might hire me to write for them are all over the map. I have helped people create professional-looking lead sheets for their own songs, I have produced charts for a major publisher for inclusion in their fakebooks, I have written arrangements for other bands, and so forth. Right now, I am working on a project producing charts for a well-known Jewish cantor who travels the world performing traditional music as well as his own adaptations of pop and show tunes. He currently has fully notated piano sheet music for some pieces he performs, and also arrangements for orchestra, but no charts that would be suitable for use by a small combo, so that is what I am producing for him.

Here is a sample page from one of the charts I have produced for this project. The arrangement I was given is a fully notated piano score 15 pages long, but I reduced it down to a chord chart of just 4 pages: http://musescore.com/marcsabatella/scores/41065

Then there are other random situations that come up for which notation software is indispensable. When my brother-in-law was tragically killed a few years ago, I decided to compose something for his memorial service. I did not start with any preconceived idea of what type of piece it would be, but as I started writing, what came out was a 4-part SATB hymn that I chose to arrange for orchestra and have performed via computer MIDI playback at the memorial. This was before I started using MuseScore, so I did it in Finale. But just as with my original compositions in lead sheet format, I eventually decided I wanted to have this in MuseScore. In this case, rather than re-write the entire arrangement from scratch, I used the MusicXML import feature to get a completely usable MuseScore version from the Finale version very quickly. I can now use this MuseScore version for any future performances, whether computer-generated or using live musicians.

Here is that score, with playback by MuseScore using the FluidR3 soundfont: http://musescore.com/node/41586

So, as you can see, MuseScore has become integral to my life as a musician. I make use of it in some way almost every single day, and for a very wide variety of applications. So if I seem unusually passionate about MuseScore, it is only because of how much I appreciate it. Thanks to Werner, Nicolas, Thomas, and everyone else who has worked to make MuseScore the invaluable tool it is!

First of all, thanks a lot for this great piece of software! My first MuseScore version was 0.9, and I can see how far it improved since that. Music is a hobby for me, so I wouldn't be able to justify huge license costs for the software :)

My current MuseScore projects are:

- my own songs, "Phantastische Lieder", are new pieces for bards in historical or fantasy settings (all in German). They are for 1 or 2 voices, some with recorder interludes. Since I was asked to share that, I recently discovered Musescore.com which really makes it easy to do so:

- arrangements for Historical Dance Music: I play recorder for historical dances. The tunes are all traditional, but there is always the problem of finding the right arrangement for the group of musicians present ... so I started to write some:

- arrangements for a choir: I sing in a Gospel choir where we have a couple of African songs in the repertoire. Many of them are just passed on orally, but we Germans love to have sheets :)
(didn't upload that stuff so far)

In reply to by Fermate

My needs are quite simple. I am a member of a church music group, and I use MuseScore when the sheet music we have is illegible, or badly notated, or in an unhelpful key. Frequently I can come up with a much simpler and clearer version, leaving out unnecessary instructions and piano parts and often fitting onto one or two sheets of A4 so that no page turning is required. We have a very large and varied repertoire, so it is unrealistic to work from memory.

I find entering chord names and lyrics very easy in MuseScore, and particularly like the way the bars are stretched automatically to fit the lyrics. This works very well indeed. The support for transposing instruments is also excellent.

It's useful when learning a tricky vocal part (rhythmically or harmonically) to use the playback facilities. We sing many songs in unison, but also do some 2, 3 and 4 part singing; we also use "solo" instruments such as flute, violin and clarinet. In the future, I may start using part extraction or linked parts. We use guitars so make extensive use of chord names, and our main keyboard player also works mainly from these rather than the dots. We have no percussion, so I haven't had any reason to do drum parts. Our leader uses an ancient version of Sibelius; I haven't managed to convince him that he should try MuseScore yet, but if 2.0 lives up to expectations I may well be able to persuade him to have a look at it. The main problem is that his Sibelius version is so old it can't be made to export MusicXML!

I also sing folk music and play in Irish (and other) instrumental sessions, and very occasionally write my own songs. MuseScore allows me to notate any of this music quickly and efficiently. Finally, the forums are superb. I have learned quite a lot from the prompt and helpful replies on here, both about the capabilities of MuseScore and about music theory. For an amateur like me, without much formal training, this has been a revelation. Thanks particularly to Marc Sabatella and ChurchOrganist.

I found in a librairy a sheet music that is out of print.....
and unfortunately , the flute part has been lost (after50 ears i'm not so surprised !), so
I wanted a freeware to "rewrite" it ^^

and I found it , it is so awesome, that I will use it for other things (transpose sheet music to play with transposing instruments or so on I've no idee yet !!!)

I have been a middle school/high school band director for over 20 years. My first experience with computer notation software was a program called Pro Composer by Mark of the Unicorn on an old Mac Classic that I inherited when I took a job at a new school in 1994. Pro Composer was pretty basic, but it evolved into Composer's Mosaic around 1996, which was a very easy-to-use and intuitive piece of notation software, and I loved it. I created over 200 marching and concert band compositions and arrangements on it. Unfortunately it was a Macintosh only program, and Mark of the Unicorn chose to leave it for dead, deciding instead to move into the audio mixing hardware and software business. (They could have eaten Finale's lunch if they had continued to update Mosaic and created a Window's version - what could have been.) I continued to use Composer's Mosaic until I got some of my original band compositions published in 2002. I began working with C. Alan Publications, and I would mail them a paper copy of a score and e-mail them the MIDI file, which they would clean up and publish. After the publication of the first two pieces, the powers at C. Alan, who used Finale, hinted very strongly that if I wanted them to publish any more of my compositions, I would have to submit Finale files. Thus began my 7 year hate/hate relationship with Finale.

I might not have had such a distaste for the program had I not been coming from Composer's Mosaic - which was so intuitive - to Finale, where I always felt as if I was "fighting" with it as opposed to "using" it. I never felt a sense of flow when composing or arranging, with input and formatting taking much longer than it had with Mosaic. The cost was through the roof for the initial program (even with an educator discount), and the costly yearly updates that fixed nothing that frustrated me, only adding features I didn't need or want was another sticking point. (As an aside, I went to the Georgia Music Educator's Convention in Savannah, Georgia a few years ago, and MakeMusic had a Finale booth. I chewed out the booth vendor to the point that I thought he was going to have security escort me out.)

In early 2009, after a particularly frustrating session with Finale, I hit Google and searched for an alternative. MuseScore came up, and at the time was at version 0.9.4. I tried it, but there were still too many bugs and quirks to convince me to switch. A few months later (after *another* frustrating session with Finale trying to write my show music for the Fall), I went back to MuseScore and found it at 0.9.5. I gave it another shot, found it much more stable, and never looked back. I love composing and arranging again. I didn't realize how far away I had gotten from doing it regularly with Finale until I started learning MuseScore and was able to flow in my writing.

I have converted almost all of my old Finale files through MIDI or MusicXML over to MuseScore files. I have dozens of marching band arrangements and compositions that I've done in MuseScore. I write for myself and several close band director friends who ask me to arrange things for them, many of which I have turned on to MuseScore as well. I have about 20 concert band compositions all written in MuseScore, three of which are published on pdfbandmusic.com. Even though I use MuseScore and they use Sibelius, the MusicXML format allows them to clean up and publish scores with very little effort. Last year I dove into composing and arranging for my Jazz Band, and I have about a dozen pieces that I've done for my group's instrumentation. I have a high school student who is a junior, and he wants to go to college to be a band director. I gave him a link to MuseScore last year, he downloaded it, and has become quite accomplished at arranging for small ensembles and simple full band pieces. This would have been impossible with Finale, as he couldn't have afforded to buy the full copy, and Notepad is so limited as to be barely useful.

I know MuseScore still has its quirks (many of which have or will be fixed through updates), but I would take it 10 times out of 10 over any commercial notation program. I feel productive after using it, and I am grateful for the work that so many have put in to make it such a great program.

In late 2009, I found MuseScore in a Google search too, I think.

Shortly before, I tried a couple of notation software, but from what I remember, I think they were cumbersome to use. Even to this day, MuseScore actually appears to be simpler to use - I'm generally comfortable with it.

I'm not a composer, but I do like to transcribe as a hobby.

I believe from 2.0 onwards, MuseScore will have its feet planted in the ground in being able to serve the more demanding of users :).

With the FLOSS license, I feel comfortable promoting Musescore to anyone and everyone without worrying whether they'll really use it. A commercial program purchase has to be justified by a real need, but FLOSS can be tried without hesitation just to see… MuseScore was even my gateway into really embracing FLOSS, so now I'm moving to GNU/Linux and learning about the other music tools there… You can see the software recommendations page on my website (wolftune.com) to see my current list of mostly FLOSS music links for all systems.

As a private music teacher, I've gotten most of my students using MuseScore to learn theory through composing and creative things. It's a very satisfying process. When we go through material in their lessons, I then have them use MuseScore to compose music inspired by the ideas from the music they are studying. Some really take off and start exploring their own directions in MuseScore as well!

My dream is to use MuseScore to develop a new beginning music method based on the ideas I've developed over the years, and to license the whole thing under Creative Commons and share the actual MuseScore files so students can manipulate the material.

Right now I'm using MuseScore to put together my own accordion "gigbook"--a collection of leadsheets of (mostly) typical accordion gig songs. Sort of an accordion-focused "real book". As you can imagine, page turns are a real pain for accordion players. Rewriting/transcribing these songs in leadsheet format puts nearly all of them down to just a single page. Very convenient!

I used to use Finale, ages ago. Then I happily switched to Sibelius. I've found MuseScore to be every bit as good as either of those two for my needs, and you can't beat the price!

- Jeff

In reply to by Jeff Jetton

Jeff, please don't emphasize only MuseScore's price, there are other zero-price tools out there. MuseScore is also free as in freedom: you can modify the program, share your changes, copy the program for others, and run it however you like. This is far more "free" than the mundane issue of price.

In reply to by wolftune

While I respect the "free as in freedom" aspect of MuseScore, the "free as in beer" part is what most directly impacts me, and it is therefore not mundane in the least. So I'll probably continue to make statements such as "you can't beat the price", sorry.

But I suppose you could choose to interpret "price" to encompass the price to one's soul, which is also quite low for MuseScore. :-)

- Jeff

In reply to by Jeff Jetton

Thanks for that Jeff. I agree that 'price' is not entirely irrelevant. I work in K-12 education and Musescore is something that students, regardless of the income of their families, can download for free and use on their Mac, Windows, or Linux computers. That's great.
It's equally as great that anyone can contribute, but for some people the price is very important.
One's soul is also very important ;-)

I use it for copying a piece of classical music, listening to playback and then laying it out in a format that I can read better than the original. I also use it to re-arrange vocal parts into parts for several instruments (usually brass). If a snatch of a tune comes into my mind I used to write it down on paper but now just put it straight into MuseScore. I have also collected a lot of folk tunes (900+) and put them into groups of graduated difficulty using MuseScore to tie it all together and to correct the inevitable errors in time and key signatures. I have collected pieces for ABRSM grading for trumpet and for flute and have amalgamated the scales and arpeggios required for each grade to create daily exercise charts.

My PC runs ubuntu 10.04 and MuseScore 1.1 so I am used to "Free" both in the sense of not costing money and also in the sense of allowing me to develop and to share. Under Applications...Music I also have Canorus, Frsecobaldi, GNU Denemo, NoteEdit, NtEd, Rosegarden and ScoLily Score Recorder and I don't think I've used any of them this year.

I feel a little silly posting this amongst all the true musicians/composers/talents who have posted in this subject. I am a male in my mid-forties with minimal music training. I played the trumpet (badly) in my high school concert band. I never learned to play another instrument. I can barely read sheet music. I have written some music using the old "music tracker" type software ("Sound Tracker," "Octamed") back in the early 90's, but that was a very different (and much more limited) composing environment.

So why am I using Musescore? Well, it's because I have musical compositions in my head, and I want to get them out of there! I've had these "tunes" in my imagination since high school, but no real outlet for it within my grasp, ability, or ambition (or lack thereof). I discovered Musescore while searching for music composition software on the net, and it looks by far to be the best tool for my needs to "compose" music. I don't want to "piano roll" canned or looped music, I want to write the music, note for note! The addition of "Fluidsynth" to the Musescore package makes it seem possible for me to actually compose and produce credible classical-style music on my computer!

I admit my initial results sound awful, but that's because of my own limitations and not the software's. I have a LOT to learn and a LONG way to go! This may all turn out to be a ridiculous fantasy on my part, but Musescore is clearly a great tool. If it turns out that I am not that talented after all, at least I didn't spend lots of cash on a "professional" product before discovering this.

I am posting this to give the Musescore programmers some perspective on what types of people are using their software. It sounds crazy, I know, but It's not just "real" musicians who use Musescore, it's also "musical idiots" like me. :-)

I'm happy about the price too, and that matters for many reasons. But Finale NotePad is zero price also, and I don't see you using that. Of course, Finale NotePad is restrictive crippleware. So emphasizing free in freedom is important if we want stuff like MuseScore to exist. If people just go for zero price, there's lots of other options. Zero price is important, but it isn't what makes MuseScore special. What makes MuseScore is the combination of zero price, freedom, quality output, and good interface. I apologize if I came across as critical. There's nothing really wrong with your comments at all, I just think the freedom aspect needs to be emphasized as well!

I use Musescore to create MIDI files to play software synthesisers in the Reaper musical workstation software. My piano playing skills are not good enough to play the music in real time, so I use MIDI files. I typeset mainly baroque piano music and some violin + piano music.

I also use Musescore to typeset tricky music so I can playback and listen to the rhythm. I like being able to adjust the tempo easily.

Note entry using a MIDI keyboard is also a very convenient feature .

Some of the melodies of the songs we sing in church, are not that familiar and make it difficult to sing lustily. The wish was expressed that the notes should accompany the words to make it easier to sing. In our church we project the words with the help of n proxima and powerpoint presentations onto two walls next to the pulpit. MuseScore is the perfect solution to write every verse with its notes. The project to combine every verse with notes for projection started December 2010. The aim is to do all 850 songs and just more than a half has now been completed. The singing has improved dramatically and the congregation sings the more challenging melodies with confidence. Although only a small percentage of our congregation can "read" notes, everybody can now see when it is a "long" note or where one should sing a little quicker (shorter notes), Our organist is now a much happier person. Thank you, MuseScore!

I sing in a choir and I've used MuseScore to type in all our songs and use it for practice. I can adjust speed and turn up/down the volume of individual voices, which is very helpful. Just missing the repetition tool, and it'll be even better (http://musescore.org/en/node/16180).

I've made the files available for others in the choir on our website as well (http://www.triangelos.no, requires member login to view the files though), so they use it too. Great stuff :)

I am interested in converting ancient Elizabethan-period music to MuseScore files. I would like to see the software be able to provide more raw MIDI control for purposes of bank changing and it would be nice to see more interpretation of dynamics and ornaments.

One reason I'm interested in doing these things is that I am not the greatest at keyboard playing and enjoy hearing music that others have not recorded yet.

If the software becomes more capable with dynamics and MIDI control, I will also start converting music by Flor Peeters, one of my favorite organ composers.

I am using Musescore to try and make performance parts for music which does not have any and I think it is worth it. For the purpose I need mostly the note entry function. I use playback as a "typo catching" device: if the harmony sounds iffy there is probably an incorrect pitch somewhere.
So far I have done a string quartet from the 20th century for which only an autographed manuscript score is commercially available. I have those parts ready to go except for small "cosmetic" improvements that I'd like to make and don't yet know how to.
I am also working on a violin sonata (no. 6) by Georges Onslow, which is available from IMSLP in a very old edition which nobody will want to play from directly (no violin part in the piano part, no bar numbers, dynamic markings in the parts don't always agree, also far from the readability you can achieve by careful work with Musescore.
The main issue I am running into is file size: the compressed files are not that big, 120 some kb, but the program becomes notably sluggish, when I work at the last movement.
If somebody needs a copy of the Onslow such as it is right now I can send you those, the other work is under copyright.

I lead a SAAT saxophone quartet but with few exceptions saxophone quartet music is scored in the SATB format. MuseScore enables me to enter the tenor and baritone sax parts and transpose them to alto and tenor parts respectively. This usually requires little or no further tinkering, but occasionally it's not a straightforward transposition and I have to use MuseScore to adjust the arrangement in places to suit the alternative instrumentation.

Apart from the original saxophone quartet music we buy for the quartet, a great source of music for us comes from the a cappella choir world. A cappella choir scores are usually arranged in sop, alto, tenor and bass harmonies often with piano accompaniment and here again MuseScore allows me to rearrange the choir score and transpose it for our quartet picking our quartet harmonies out of the voice and piano parts. I bought the a cappella choir scores for Lennon and McCartney's 'Penny Lane', 'Michelle', 'Yesterday', 'The Long and WInding Road', 'In My Life' and 'All You Need Is Love', and used MuseScore to arrange and transpose them for our quartet and they are, I have to say, six of our audience favourites.

Just in case anyone is wondering, yes, I am very much aware of copyright. I purchase all the music in its original published form and ensure that there are no restictions on rearrangement or transposition. There are some classical pieces which I would love to set about with MuseScore for the quartet, but there are specific restrictions on transposition and rearrangement with most of them so Herr Mozart's Minuets, for instance, must remain in tact I'm sorry to say.

In reply to by Peter B

I would have thought that copyright for any work by MOzart would have expired long ago.

The rule, in the EU anyway is that copyright expires 70 years after the composer's death, and after that any published music enters the public domain. The US rule is similar.

I have never heard of any restrictions on arranging Mozart.

Sometimes publishers will copyright an edition of Mozart's music, but it is only arrangements and editing that is copyright. The actual music is still in the public domain.


In reply to by ChurchOrganist

"...but it is only arrangements and editing that is copyright...."

Well exactly !! Unlike publishers of popular music who don't seem to place restrictions on their published music, classical music publishers seem vigerously to protect what they publish. Pick up a published score of a 'classical' piece of music and nine times out of ten you'll find a 'Thou Shalt Not...' notice on it .

A couple of brass bands and a choir near me were 'done' over this issue a few years ago I've been very careful over it since. I've been in correspondence with the Performing Rights Society on the subject because I want to ensure that I'm not letting myself and my quartet in for any problems performing our rearranged, transposed music in public. The advice I've got is that you need to be very careful tinkering with any published 'classical' works for public performance, so I just leave them alone.

In reply to by Peter B

A publisher may put a copyright on their particular publication, but that just means you cannot make copies of that exact edition (eg, actually photocopying the sheet music). It is their editorial decisions - how many bars per line, any bowings or phrase marking they added, how they adjusted stem lengths to avoid collisions, etc - that is protected. You are free to create your own edition of the music, since the music itself is long put of copyright. But you should be careful not to copy the bowings or other markings added by the publisher if those markings are still under copyright.

In reply to by ChurchOrganist

It must be arrangements of Mozart-Menuets on which you have read warnings of copyright/performance rights.

50 or 70 years?

Isn't it 50 years after composer's death in EU so far, but the commision has a proposal to prolong to 70 years (and 70 in US)?

The prolongation from 50 to 70 years is opposed by artists and lawyers alike, I think, and is only on the agenda because large companies like Disney or Sony wants to make sure that they can profit from their portfolio as long as possible. Opposition argues that the cultural heritage should not be "pirated" by large companies who do not have any "droit morale" whatsoever. It will just hinder more artistic developments.

The situation may incur a promotion of 1800-years music - that is the best I can say about copyright to buyers of rights lasting a lifetime after the death of a composer.

In reply to by ChurchOrganist

Copyright was NOT always 70 years after death for sheet music. That was changed relatively recently in many countries, where usually recordings and sheet music are the same. It used to be 50, some countries still use 50, and before that it was shorter. The reason certain older pieces are just now getting into public domain is because when the terms were extended, they extended them retroactively even though that is a completely illogical action against the public interest. You can find information about all this history and such at Wikipedia and elsewhere. In fact, there is not a completely set international standard.

In reply to by wolftune

I'm pretty sure there was no copyright on Mozart's music in his lifetime so it could not be extended after his death. Mozart himself said that he was working himself to death writing arrangements of his music from his operas in order to get them done before other people did it, the point being that he couldn't stop them doing it, he could only hope to get his own arrangement to the shops before them. Music was ephemeral until modern times. People copied music all the time. No one saw any point in establishing ownership rights to something that would be forgotten in a year or so. Bach learned by copying other musician's compositions. There wasn't that much printed music around. Bach would be astounded to find his music still being printed - let alone performed - over two centuries after his death.

I have actually used mscore 0.95, own compilation, on a ScientificLinux-5.x installed in 2008 and updated with dag/wiers repository packages, however I can not compile the newer versions and do not mind because 0.95 is fairly stable and can do a lot, really do a lot. I have often thought that I should offer to revise the sample-files, there is one or a handful of errors in the a-minor Inventio by J.S.Bach.

I publish the best of my compositions, though not all, on YouTube. Here is a link to one:

-Donald Axel-

Finally I have time to post :)

I have been a full time organist, teacher, composer, programmer and performer for most of my working life, apart from a 4 year gap when I tried my hand at sales.

For me the joke: "Weddings, bahmitzvahs and funerals" is pretty near what I actually do.

I began by teaching guitar in the mid 1970s. Guitar teachers were few and far between back then, indeed the guitar was nott viewed as a serious instrument by many classical musicians. That was way before music notation software was even thought of, of course, and a computer occupied several large rooms, the main processor being have to be kept in a hermetically sealed dust free environment. Data inut was by the means of punch cards produced by teams of operators typing away. Consequently all the music I wrote for teaching or other purposes was produced with pen and ink - I came across one of the special pens I used for final copies while clearing out a drawer the other day, and I still have a box of manuscripts yet to be transferred to the computer.

Since 1983 I have been Director of Music at St Michael's Church, Retford and entered the world of computer generated music in the early 1990's with a program called Rhapsody which ran on RISCOS computers. The output was basic to say the least, but the fact that I could now produce readable copies of music easily was a godsend. This was the same OS that Sibelius was first written for, only being ported to PC when Acorn Computers finally folded around 1998. Rhapsody continued development until the demise of Acorn computers, and I was one of the beta testers for the final version, which, in my opinion beat the c**p out of Sibelius at the time.

After being forced on to PC's by the closure of Acorn Computers, I turned to Finale, which at the time offered much better control over layout than SIbelius. I discovered MuseScore in May 2011 whilst contemplating upgrading from Finale 2003. After trying it out with a small project for St Michaels (producing an arrangement of the Regina Caeli) I was immediately hooked, and have used nothing else for notation purposes since, using it daily for the production of teaching worksheets and music for St Michael's Choir. I am particularly excited by the new features coming in version 2.0, which I believe is really going to put MuseScore on the map with professional musicians, and give both Finale and SIbelius a run for the money.

There is only one area I would like to see improved currently - support for plainchant and other unmeasured music. That really would give it the edge over the proprietary opposition, as neither of them are good at supporting this.

You can find some of my compositions at MuseScore.com, and I am currently engaged in transferring works for Organ to MuseScore from public domain sources, which I'm planning to open up as a library in the near future, the goal being never to have to turn a page of music again :)

Mainly choir musics, editing it for easier lyrics legibility (font size, breaks according to lyrics rather than to bars)

Some double bass parts for my own use

Instruments parts out of conductor scores

I previously used Rhapsody, and Pizzicato, a «one man» software (Mac and Windows), whose programmer kindly answer questions. His programm includes devices aimed at helping componers, about which I am not able to have an opinion.
It seems that there is presumably some Musescore users who would appreciate suchdevices.

I like the feature that lets you mute one voice. That way I can play the muted voice and learn the part, and if necessary I can gradually bring it up to performance tempo, before meeting with the other, more experienced performers to rehearse.

I use musescore to copy and edit old manuscripts. There is a lot of music that is never played, since there's no printed sheet music. I do this as a hobby and post it for free, so I don't have to worry about the commercial aspect. It would make me very happy if I can contribute to someone actually playing more music of Roman, Agrell etc. live.

As a violinist, composer and orchestrator, I'm always in contact with notation softwares to write my music and do my work. When I bought a new pc, tried to find free/open softwares with quality in output - as so I had on Finale and Sibelius, to minimize some costs. So, I found MuseScore through Wikipedia.

Since this, I use it to produce my own scores to play out there, to do my homework from university and, one of the main uses: to build my "score backup facility". I usually must read flawed scored, or even blurry manuscripts. So, write'em in MuseScore and backup for futher use.

Even to produce my computer-aided music, I need to write down the sheet, so notation software is fundamental in my life. And, my first choice today is MuseScore.

I use musescore for creating audio mock-ups of Bach-style chorales that I write for my music class in school. Musescore is simply the best notation tool available on GNU/Linux, so that's what I use. The musicXML support is essential for me to use my pieces on both my home computer and the computers at school that use Sibelius 6. I look forward to Musescore's further growth and success :)

I began classical training on the piano at age six. I began taking a large interest in composition and arranging music at about age 12, and that is also when I began playing jazz (trombone and piano). At that time, I was mainly trying to develop my compositiing skills, and must have composed about sixty piano songs, all of which were in various stages of incompletion. I had tried out many free notation softwares but all of them were, in my opinion, un professional in display and notation. Thus, I began to hand-notate the songs, which slowed my progress and enthusiasm.
I first came across MuseScore when it was version 0.9.5. I was first of all impressed by how much more professional the sheet music came out to be. I also enjoyed that the note-imput method was somewhat similar to Sibelius, which one of my teachers had shoed me how to use. The best part was that it was free. I began again to compose and arrange music, and have come a long way in my composing skills.
I arrange songs for the high school jazz band and basketball pep band. I started out taking big band songs and converting them to combo tunes (and vice versa), but now I do original big and tunes. I also take classic rock songs and arrange them for basket ball band. My arrangements have been performed by the bands quite a few times.
Personally, I compose songs in the New Age classical genre, but I also enjoy making piano arrangements of big band tunes, and original works in the jazz genre. I also do works for chamber orchestra and occasionally the church choir.
MuseScore has come a long way since V0.9.5, and I look forward to the future of MuseScore.

I use to work with musescore to copy scores for my choir. And, also I have copied some of my own works, but I like a little bit other softwares like Finale, and Sibelius, specially in audio devices. I like to test music notation softwares like LilyPond, MuseScore, in order to test its capabilities to replace Finale and Sibelius. I hope freeware can replace totally these non-free softwares. That is why I like so much the opportunity that MuseScore is giving to us.

A friend and I composed a full concert band piece for our middle school band. After finding MuseScore from a Wikipedia article, we downloaded version 0.9.3 and used it throughout the project. Looking back, it would have been much easier with the amazing new features 2.0 will have. The compability issues as MuseScore progressed took hours to resolve, but still, it was and still is the best free scorewriting software. The only thing better is Finale Pro and Sibelius Pro -- and they are not much better. I also use musescore to arrange and re-arrange (if the original is hard to read) scores, and to compose. MuseScore is amazing, and I can't wait for 2.0!

I was searching a good notation program. I was trying with Sibelius, Encore and Finale, but neither program makes PDF files in good quality. Finally I found MuseScore. When I made my first PDF with this program and I printed it, I knew, so I choose good program. MuseScore now helps me with make high quality PDF files of my arragenment, transcriptions or refreshes from old printings. There is link to my score, Up Is Down, by all of score isn't acces, because I don't protect this sheet of copyrights.



In future I'm going to make online libary of sheet music with my friend, which works in MuseScore too.


There is one of my finished works - Nocturne b minor by Frederic Chopin:

Attachment Size
Nocturne b-mool Op 9 No. 1.pdf 124.55 KB

I first found MuseScore 2-3 years ago as a young, curious musician. It was MuseScore At the time, I didn't have much use for it, but after a while I became addicted to it. I've made several compositions, arrangements, and transcriptions with MuseScore and I plan to continue for a looong time. MuseScore has even helped me to make school history, as I have used it to arrange pieces for our school Concert Band. To this day I am amazed by how far MuseScore has come and what it has done for me =)

I've been singing in barbershop quartets since 1993 and barbershop choruses since 1997. One of my favorite activities in barbershopping is tag singing. Tags are pieces of music short enough to be taught by ear. They were originally the codas to song arrangements, which typically featured some especially satisfying harmony. Tag singing grew into its own activity, and now there are tags that never had a song attached to them!

I'm a "tagmaster", the kind of guy who is ready to teach all four parts to a few dozen tags when I'm with other singers. Some I learn just by ear, others by studying sheet music. As I sing tags taught by others, I try to collect the "spots" from them and build up my collection. I need a notation program to keep them digitally and so I can hear the transcription to make sure it sounds right. MuseScore to the rescue!

I have MuseScore and DropBox on my upstairs desktop (Windows), my laptop (Windows/Linux dual boot) and my downstairs desktop (Mac). MuseScore runs equally well on all three, and DropBox keeps the files in sync. The combination is heavenly! I'd used Finale PrintMusic before, but couldn't run it under Linux and couldn't afford to keep it current on more than one computer.

I'm trying to preserve my tag collection for future generations by posting everything to http://barbershoptags.com (see my uploads ). I use MuseScore to prepare attractive, legible scores and export them to PNG for display on cell phones. I convinced the webmaster to add MuseScore to the notation formats he'll accept when posting a tag.

I'm looking forward to the day MuseScore will make adding lyrics above the staff as easy as adding them below the staff, as that's something that's called for quite often in barbershop notation.

Been a pianist since I was a little kid and started studying classical, but after 8 years of lessons, I got away from it for a long, long time -- let's just say that if you are a starving newly-graduated "young professional," an acoustic piano is possibly the worst instrument in the world in terms of ease of moving, apartment-friendliness, and expense. I went for a very long time without, and when digitals caught up quality-wise and I had finally reached some sort of financial stability, I got one.

And discovered at the age of 44 that not only could I write music, but I could write fairly decent music. As a kid, I had gotten the message that one didn't "make things up" at the piano but just played the notes as written. "Making things up" was like "playing by ear." Bad. I wish I had played a more portable instrument, which would have given me the chance to shake that off a lot earlier than middle age, but it is what it is and I'm just glad I did it in the end. And glad that the classical world is more welcoming to that sort of thing than it once was.

After pencil and paper, I started with Lilypond in terms of just writing it down, but was encouraged by a viola teacher to try Musescore and never looked back. I'm now writing my own work and arranging others that I love but want to bring into the piano universe (Haendel arias especially, but some Vivaldi). Musescore is fantastic. I don't anticipate using anything else.

So I'm not really a "pro," but I hope to be someday. Still cranking away on my own stuff, and someday, maybe it will be on Bandcamp and iTunes ... It's already on paper, though. :-)

Earlier this year, my friend Heather and I (we're both cellists) needed to find a software to compose a song for the talent show on. We looked at two, and I don't remember their names, but we couldn't figure them out. When we found musescore, we were amazed at how incredibly easy it was to use, based off of the tutorials. We downloaded it on her mom's computer and made a 3-part piece (two cellos and a string bass) in under half an hour.

Now, I've been trying to piece out Viva La Vida for an orchestra to play, as well as composing another song that I have yet to name. I still love this program, and I've been using it for more time than I should every day. :D

I'm a completely self-taught musician, having started on classical guitar in 1965 (ancient history). I've never performed in public and never published one note of music (nor did I ever want to), but over the years I managed to teach my instrument in commercial studios. Eventually I changed my line of work and wound up as a German-English document translator. Guitar was my only instrument, but due to some physical limitations, not to mention various distractions and lack of time, I finally got discouraged and started neglecting my guitar practice. I'm retired now and have lots of time, but arthritis is keeping me away from the guitar altogether.

I acquired my first electronic keyboard in the 1990s, learned some chords on it, and began to write amateur keyboard compositions. Since my keyboarding technique was never good enough for playing the left-hand part fluently, my compositions were in lead sheet format. I played the melodies with an improvised accompaniment, which was mainly chordal, but sometimes included stride bass. When I discovered MIDI, I started writing pieces out in full piano score with the aid of Cakewalk Apprentice (on Windows 3.1). I then let my computer play my pieces for me, so I could get a better idea how they should sound. Once I finished a piece, I could sit back, relax and enjoy the concert. :)

Of course, MuseScore, which I found in a Google search a couple of years ago, is far more flexible and feature-packed than Cakewalk Apprentice was. I run it on a netbook with Windows 7, and the sound is phenomenal, especially with the "FluidR3_GM" sound font. The sound I get from a standard MIDI sequence through the Windows Media Player doesn't even come close, so I play everything in MuseScore.

Even though I write out the full piano score, I still copy it out on paper as a lead sheet to accommodate my amateur playing technique and natural clumsiness. Now in my sixties, I'm more or less unteachable, and I doubt if I'd want to take piano lessons. ;)

We moved countries and our piano has been in storage for almost a year. MuseScore has enabled my school-age kids to continue their voice lessons. We input their lesson music for them to rehearse. In a way it has been better than the piano as MuseScore is always in tune and always plays the rhythms as written. They can practice syllable by syllable or set a rehearsal or performance tempo. In the process of inputting, we've all learned quite a bit of music theory as well. We are able to create tracks with and without the voice line and they can sing along to their iPod or even take it as accompaniment for impromptu opportunities to perform at school (we still use a live human accompanist for recitals of course). We found the program by necessity, but even when we have access to our piano again we will continue to use it. The kids have shared their enthusiasm with their teachers and classmates, and we were pleased to see that the program is also available in our current language, so the choir teacher has recommended it to all his students now as well. I really appreciate the work that has gone into this and the fact that it is free to all. Thanks!

I'm a full-time music teacher and musician from the island of Puerto Rico. Musescore is the only music notation program I use at the moment (previously used Finale and then Sibelius before switching to Musescore), both for educational and personal work. Since promoting Free/Libre and Open Source Software (FLOSS) is part of my teaching philosophy, I teach how to use Musescore in a basic level to my elementary school students as part of the music class. You can take a look at my children's works at my blog (it's written in Spanish, but maybe you can use a translator service like Google Translator if you don't understand it):

MuseScore Workshop photos

MuseScore works of my students during the workshop

Also, I made two simple and basic videos for my students based on MuseScore 1.1 (that was the current version when I offered the workshop to my students). The purpose was to prepare them for the workshop on MuseScore that I offered to them. The first one explains how to install the program, the other one is a very simple tutorial on how to write a short song with MuseScore 1.1

Best of all, my students get to install a copy of the software at their home computers. That way they can keep practising what they learned at the music class. This is one of the best aspects of FLOSS, which comes handy at an educational setting. I can't do that with Sibelius or Finale!

Congratulations to the MuseScore developers team. You are truly doing a great work, and it only gets better with time.

I am a junior student and I love music.
I had been using Overture until I saw this awesome free software.
I often use it for arranging piano sheets, or writing some music.
I hope MuseScore can be better.
And I want MuseScore to play more realistic sounds.