Score Voice
Ashely Wolfgram
Daily usage of the term voice refers to a musical line or part which can have its own rhythm. Musescore Voices is different, it refers to the software feature that provides automatic stem direction function, allows individual stem direction within a chord, and allows easier playback control. It has nothing to do with pitch range. Voices is also known as "layers" in other notation software.
Enter Voice 1 notes first: Make sure you are in note input mode : the Voice 1 button becomes highlighted in blue in the toolbar. Always enter lower numbered Voice first, in this example Voice 1. On inputting, some notes may have down-stems, but these will flip automatically when the Voice 2 is added.
All rests can be made invisible, if required: select the desired rest(s) and press V, or uncheck the "Visible" checkbox in the Inspector. Rests in Voices 2, 3 or 4 (but not Voice 1) can also be deleted (by selecting them and pressing Delete) but it is not recommended: make them invisible instead.
If a rest has been deleted in Voices 2-4, you will need to restore it before you can enter a note on that beat in that Voice (the problem may arise, for example, in imported XML or MIDI files). The easiest way to fix such a measure is to exchange that Voice with Voice 1 twice. For the exact method, see Exchange Voices of notes (below).
Notes: (a) The selection can encompass content of any Voice, but only two will be processed at once. (b) If you select a partial measure the operation will still apply to the whole measure.
Chord inside Musescore has a stricter definition than in daily usage, constituent notes of a chord must have the same duration. You cannot merge Voices of varying duration into one chord (of one Voice).
See Tools: Implode
It would be amazing to be able to reward users (in both server points and server score) for interacting with voice channels (the same way users are already rewarded for using text channels). A feature on the Tatsu website could also be added to set the amount of points and score gained per minute spent in the voice channel and another feature could be added to specify which channels can give out xp (for example, the afk voice chat shouldn't give out xp). This would be great in order to encourage server members to spend more time in voice channels to keep the server fresh. However, awarding Tatsu credits (universal currency) would be a bad idea since this can be exploited for farming.
That's why Tatsu credits shouldn't be awarded for sitting in voice channels, but server points/score should since you can't spend those outside of the server. Also, the plan would be to allow the user to set which channels Tatsu does and doesn't award points to so that those in AFK channels would not be rewarded. If someone were to be idle in a channel that awarded points, Discord would naturally move them into the server's designated AFK channel, where points can't be awarded, which would effectively prevent farming.
However, if server owners were to allow farming, users would only be farming currency that could be spent in the server on server items, accolades, etc. If a server owner wants to allow farming, that would be up to them and the server's currency would lose value without affecting anyone not part of that server.
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It can be easy to miss the human voice in film scores. You might notice a supporting choir in the background, and sure, that can work quite well. But when the human voice is allowed to shine, whether as a single voice or an instrument, how does it provide a film with something different?
The human voice can also create connections of love. As seen in the Harry Potter movies, the human voice emphasizes ties to maternal and paternal relationships between characters along with romantic relationships. The use of the voice brings a humane quality to particular moments of love, something that the orchestra is sometimes unable to do.
Next time you watch a film or television show, I urge you to pay close attention to when voices are used by composers. How does the voice make you feel? How does it elevate the scene? The human voice is an instrument that should not go unnoticed.
As you seem to be a novice at music theory issues, and apparantly do not have a music notation program, I suggest you transpose the music exactly one fifth upward (to the key of F or D minor, with 1 flat). You can then play the notes on the next string higher than they would be played in the original key. In other words, 2nd finger F on the D string becomes 2nd finger C on the A string. You may be able to do this in your head (without writing out the music.) Writing it out should be easy, however. Just imagine the note which would sound if you used the same finger on the next higher string.
Typically you'd look at the range of your piece and decide where you want it to fall on your instrument, then figure out the key it needs to be in based on that range, and how many steps you need to move the notes to get there from the original key. A key wheel like this one might help you with figuring out the individual notes. A lot of the music publishing software programs will do this for you. I use BarFly for working with tunes in abc code and Sibelius for more complicated music projects, and both of those handle transposition with the click of a button. Sibelius goes further and alerts you if anything in your tune is outside of the range of the instrument you've specified. for your score! I hope this helps -Steve
I just finished the RCM theory course and I am itching to transcribe something - it was so much fun. Do you have a smallish piece? If you could copy it and send it to me (PM me) I could see what I can do with it and also let you know how I did it. Since I'm an adult learning at home who passes the theory questions on to her violin teacher occasionally - but not taking any formal course - this would give me some extra practice.
So to transpose, you take your new staff paper, put in a treble clef, and then add the sharp on F. Then look at the original. Supposing your first note is E on the bottom line. You raise it by 6. EFGABC: your note is in the space for C. Your next note is an F in the space. You raise it by 6. FGABCD. Your next note is D, on a line. You do that for every note. Raise each note by 6. It does not matter if your original E was an Eb. Your new key signature takes care of that.
NEXT STEP: Look for accidentals: sharps, flats, naturals. A sharp raises a note by a half step, a flat lowers a note by a half step. If there is a natural coming after a sharp (in the key signature, or because of an accidental before) then the natural is lowering the note, becuase it is undoing the raising that the sharp did. If there is a natural coming after a flat (in key signature, or after an accidental)a then the natural is raising a note, because it is undoing what the flat is.
So when you see an accidental you have to ask yourself "Is this raising or lowering a note?" Then you want to raise or lower the corresponding note in the same way. This part is more tricky, because you don't always use the same accidental.
Example: Supposing that your original note was Eb, because the key signature has a flat for E. But beside that E you see a natural sign. That means the natural sign is raising the note. You will have to raise the note in your new transposed music also. But you are in the key of G. There is no flat beside that note. How do you raise a note by a semitone if there is no flat? You add a sharp.
In our example, the Eb in the old music is C in the new music, because if you raise E 6 steps, you end up with C. The Eb has a natural sign, so it has been raised by a semitone. You want to raise the new note, C, by a semitone. So put a sharp beside the C. Now the C, which corresponds to the old raised E, is raised in the same way as the old note.
When you finish transcribing, try playing what you transcribed. If something sounds funny, you probably made a mistake. The you just go back to what you did and try to figure out what you did wrong. It's almost a brainless job - just keep counting up the same number of notes over and over.
Maybe because I originally learned to read music on the piano rather than the violin, I find it simpler to think in terms of 11 semitones to an octave rather than 8 notes to a scale, so that Bb to G is either 8 semitones up or 3 down. This way you don't have to worry about intervals between notes, modes, or anything else; you just count the same number of semitones up or down for every note you're transposing.
The low note of a flute is generally middle C, the first ledger line below the staff, or 3rd finger on the G string). The music ranges about 2 1/2 to 3 octaves above that. This is a pretty good match for the violin range.
Problems occur when the composer is trying to achieve special flutey effects, or when the music contains double stops or other characteristically stringy things, but for the normal run of tunes, I would say that flutes and violins can play pretty much the same music, unless it goes below middle C.
These days such transpositions are done by most people using computer software, but 60 years ago I bought a "music slide rule" made of wood that served me well for such things. There is a circular, plastic rule of more limited, but similar function available on e-bay right now, but you can see what it is all about on this PDF writeup: -ruler.pdf
I use noteworthy composer - there is a free trial copy on the net for you to down load. The only problem is that the free trial copy only allows you to save the file 8 or 9 times and then that is the final product. Also when you print, there is a "trial copy" (or something like that) printed on the page. It is relatively cheap and I finally bought a proper copy.
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