An interview with Thomas Bonte on the release of MuseScore 2.0

News

Note: For news about updates to MuseScore since version 2.0, see:

MuseScore 2.3
MuseScore 2.2
MuseScore 2.1

musescore-logoOver the past year, this blog has featured discussions and interviews with representatives of several notation software producers. I had breakfast with MakeMusic’s Gear Fisher, Fred Flowerday and Mark Adler and spoke at length with Steinberg’s Daniel Spreadbury. We’ve had several discussions with Avid representatives, including software engineer Michael Ost; marketing manager Andrew Wild about Avid Everywhere; and recently with product staff Sam Butler and Joe Pearson about Sibelius Cloud Publishing.

In that spirit I invited MuseScore‘s co-founder and CEO Thomas Bonte for an interview to coincide with today’s release of MuseScore 2.0, a version five years in the making. I first met Thomas and his co-founder and CTO Nicolas Froment in 2011, when they visited New York for a Music Hack Day event. Their globe-trotting and development hasn’t stopped in the four years since then, and so I am grateful that Thomas was very generous with his time, answering these interview questions during a very busy period for MuseScore.

musescore-team
Nicolas Froment (MuseScore CTO), Werner Schweer (MuseScore lead developer), Thomas Bonte (MuseScore CEO)

Read on to learn more about Thomas, the history of MuseScore, what’s new in MuseScore 2.0, and what to expect for the future.

Background

Q: How did you first become involved with MuseScore?

MuseScore started as a hobby software project by German software developer Werner Schweer in 2002. He wrote it for himself to notate his piano compositions. I stumbled upon MuseScore in 2004, as I was looking for an open source WYSIWYG editor to transcribe sheet music. My requirements were rather modest, as I just wanted to transcribe lead sheets. It was promising, but needed quite a bit more work, so I kept on using Lilypond until 2007, when I e-mailed Werner to request if he could implement a way to enter chord names. Half a year later, I had my near-perfect solution. I left Lilypond behind and never looked back.

Q: Where do you live and work?

I live and work in Ghent, Belgium. It’s situated right in between Brussels and Bruges, and one of Europe’s finest discoveries! I do travel a lot, however, so I can work anywhere where there’s an internet connection.

Q: What are your responsibilities for MuseScore?

I started as a normal user, but as I found the MuseScore project lacking online presence, I took it as a challenge to develop the musescore.org web site and grow the MuseScore user and contributor community. In particular, I focused on putting the infrastructure in place to facilitate the documentation and localization efforts. Today, my daily activities are developing the MuseScore web properties, traveling around the world making contacts and evangelizing about MuseScore, leading all non-development projects relating to MuseScore, and more.

Q: Do you work on other products or projects besides MuseScore?

No, I’ve worked exclusively on MuseScore since 2008.

Q: What is your background? What did you do before working on MuseScore?

I have an bachelor’s degree in engineering from Ghent University. Halfway through working on my master’s degree, I decided to follow my entrepreneurial instinct and start a business. I ended up co-founding a printing software company, developing RIP (raster image processing) and color management software. Three years later, I left that business to pursue my music interests.

Q: Tell us about some of the most interesting things you did before working on MuseScore.

On February 26 in 2005 I attended the FOSDEM conference in Brussels. That day literally changed the course of my professional life. The conference started with the two inspirational keynote speakers: Jimmy Wales, who spoke about the young Wikipedia project and its mission to collect the sum of all human knowledge; and Richard Stallman who talked about free software and user freedom in general. Essentially, though, they both talked about the same thing: a global movement based on sharing knowledge, and how that could make a dramatic impact on society and business.

Thomas Bonte promoting MuseScore at FOSDEM 2012
Thomas Bonte promoting MuseScore at FOSDEM 2012

I vividly remember thinking how I could apply what I just learned to the world of sheet music. As an amateur piano player, I was always in need of sheet music in order to learn to play a song. It was through this need that I felt the catalog of available sheet music on the market was rather limited. And if it was available, it came at a very high price, since you were often forced to buy a whole book. So during the keynote presentations, the Wikifonia idea came to me: a wiki site to collaboratively transcribe lead sheets of all songs ever recorded. All I would need was a site, software to create sheet music available to add and a way to render the sheet music in the browser.

On the question how I wanted to build the site, I received an answer on the same day while attending the very first Drupal developer meeting. Drupal is an open source content management system which you can use to create community based websites. It showed great potential, so I decided to use Drupal to build the Wikifonia site. Besides being software, Drupal is also a community. Through Drupal, I learned many things about open source development and growing a developer community.

To solve the second issue, a tool to create sheet music, I had various attempts with some friends to create a browser-based solution, first as a Java applet, followed by an attempt with Flash. This was obviously years before the HTML5 standard. Unfortunately none of the attempts were satisfactory. So I changed strategy and revisited MuseScore. It had evolved, but in order to succeed, it had to rival with the market leaders Sibelius and Finale. So I realized my journey had just begun.

Q: What is your music background? When did your interest in music begin?

My parents had a piano at home and, as the eldest, I was predestined to play that piano. I started to go to music school at the age of 8, learned to read notes and enjoyed the typical classical music training. I was not really talented, though, and on top of that I had a hard time reading notes because of my dyslexia. But my parents and teacher motivated me to push through.

Soon I started to get interested in playing the pop songs I heard on the radio. As I couldn’t play by ear, I walked into the sheet music shop across the music school, looking for my favorite songs. Unfortunately I couldn’t find most of the titles I was looking for, and if I did find one, it was bundled in a whole book. So with the brain of an 11-year-old, I made a simple economical decision and bought the biggest book in the store, containing the top 100 songs of the 1980s.

Proud of the very first purchase I ever made myself, I immediately sat at the piano. First I learned it was nearly impossible to keep the book open without aids such as clothespins. The next discovery was even more sobering, since the songs were not arranged in the way I liked it. I never played a single song from that book!

Many years later, I understood I had purchased a piano-vocal-guitar book, while I was actually looking for a piano arrangement. It was an extremely disappointing experience and I didn’t understand why this industry sold me a badly designed product which didn’t fit my needs. It was the start of a journey in finding ways to make sheet music more available and easier to learn.

Thomas Bonte at the 2010 E-Culture Fair in Dortmund, Germany
Thomas Bonte at the 2010 E-Culture Fair in Dortmund, Germany

Q: When did your interest in computers and computer programming begin?

I was rather late with computers; I got my first computer at the age of 16. It had an Intel 486 processor on board, and all I needed it for at the start was to play games. My first programming experience was simply typing over BASIC scripts from print magazines and modifying them. I was in particular intrigued by fractals, plotting various versions with the Mandelbrot set and simple Lissajous curves. I created my first web site the year I entered university and got introduced to the internet. It was simply a spreadsheet which listed the sheet music I owned, exported as HTML. I added a simple message to it: “let’s swap”.

There was this very particular thing with sheet music: I never knew in advance whether the piece would work for me. Making an upfront investment, only to find out the arrangement was to hard to play or simply not the way I liked it, was always a painful experience — especially as a student with a limited budget. So enlarging my personal collection by swapping what I already had was a very cost-effective solution. While swapping with people from around the globe, I learned that I wasn’t the only one having difficulties find the right piece of sheet music.

The spreadsheet site started to attract quite some visitors, and I further developed it so people could sign up and enter information on their own sheet music collection, allowing them to swap it as well. It turned into my first community site and it steadily grew over the years. At the same time, I started to work on Wikifonia and later MuseScore, anticipating that while I was solving my own needs, I could do it at the same time for all the other struggling music learners out there.

Q: What do you like to do in your free time?

These days I reserve most of my free time for family and sports. My piano keyboard is currently gathering too much dust while my computer keyboard is getting all the love, but I know one day I’ll get back to it. I also like photography, which I mostly do while traveling.

MuseScore 2.0 new features

Q: Would you like to comment or elaborate on MuseScore 2.0’s new features and describe their purpose and intent? (Answered mostly by Nicolas Froment, MuseScore co-founder and CTO)

MuseScore co-founder and CTO Nicolas Froment (L) demonstrating MuseScore
MuseScore co-founder and CTO Nicolas Froment (L) demonstrating MuseScore

Dynamically linked parts

This allows you to create parts and sync them with the main score. Any edit made in the score will be reflected in the parts and vice-versa. This feature is intended for band, choir or orchestra scores and it gives more workflow flexibility for these types of scores.

Guitar tab

Tablature support was one of the most requested features. It was wanted so badly that some users were creating tablatures by hiding notes in a standard staff, adding a sixth line, and positioning fingering numbers manually, one by one! Fortunately, Maurizio Gavioli was interested in implementing lute tablature and somehow, guitar tablature was a by-product of his implementation.

MuseScore 2.0 now supports tablature for guitar, bass, lute, ukulele and more. The number of strings and the tuning are customizable. The appearance of the tabs can be changed from displaying rests to using letters instead of numbers for fret markings. Tablature staves can be linked with standard staves the same way linked parts are linked to the score. A notable new feature is also import of Guitar Pro files (GP3, GP4, GP5 and GPX).

Guitar tab in MuseScore 2.0
Guitar tab in MuseScore 2.0

Start Center

When you start up MuseScore, you get greeted by the Start Center window. It lets you chose to start a new score, learn how to use MuseScore through a worksheet, or pick up your previous projects. If you’re online, the Start Center will feature a MuseScore user and one of his or her works from musescore.com.

Inspector

The inspector gives you access to all properties of one or more similar elements in a score. This is much more powerful than the 1.x implementation, where editing properties was behind a contextual menu. The inspector also lets you edit properties in a single place that many elements have in common, such as color or visibility.

inspector
A MuseScore score with the Inspector fixed on the right side of the screen

Custom workspaces and palettes

Together with note input, the palette is the principal way to add elements to a score. With MuseScore becoming more powerful, the number of elements has grown substantially, making the palette unwieldy. So we introduced Workspaces, which comes by default with a basic and advanced workspace. The Basic workspace gives a slimmed-down version of the complete palette and should be suitable for the majority of users. The Advanced workspace gives access to all the symbols. Creating custom workspaces is also possible, allowing for the creation of a custom palette. For example, a teacher might want to make an even more basic workspace with just the treble clef and the 3 accidentals. Workspaces are exportable, so they can be shared.

workspace

Continuous view

Adding a continuous view was among the most requested features. Users working on larger scores need to see their score in a continuous strip.

A score in Continuous view, new in MuseScore 2.0
A score in Continuous view, new in MuseScore 2.0

Selection filter

It is now possible to select all elements of the same type, e.g. all articulations, in a single voice, staff, range selection. It’s very powerful since you can then move them all and change their color, style, and more with the inspector. The selection filter comes on top of that and lets the user choose which voices are selected in a range selection, or if the range selection should contain dynamics, for example.

Explode/Implode

This was a popular plug-in in MuseScore 1.3, and it has now moved into core. It lets you explode chords to staves, or implode notes from staves into chords. It’s a time saver for creating piano reductions, or creating individual SATB lines from piano scores.

Engraving improvements

During the development cycle of MuseScore 2.0, Elaine Gould published Behind Bars. Obviously it had an impact on our development. Many engraving improvements have been implemented by Marc Sabatella following Gould’s advice. Here is a non-exhaustive list:

  • Seconds in multiple voices are now handled better
  • Accidental stacking
  • Tie shape and direction
  • Dots in multi-voice context
  • Beam angle, subbeam direction, cross staff beaming
  • Vertical position of rests in multi-voice context
  • Lyrics alignment with melismas, hyphens
  • Grace notes layout improvements
  • Automatic spacing of chord symbols

These improvements came together with visual tests to make sure no regressions were introduced during development. These tests were generated automatically for any modification in MuseScore’s source code.

Measure spacing options in MuseScore 2.0
Measure spacing options in MuseScore 2.0

Playback improvements, swing control

MuseScore now plays single-note or two-note tremolos, appoggiatura, and trills. Of course, many of these markings are played differently depending on the instruments or the period, so MuseScore makes a choice. MuseScore also features a new audio architecture and a new SoundFont for overall better playback.

Image Capture (graphic export)

It’s now possible to select a part of a score and export it in PNG or SVG format. It’s also possible to paste the selection directly into a word processor. This feature is meant for teachers or book authors who need to create lots of score snippets and include them in a text document.

image-capture
Using Image Capture in MuseScore 2.0

Repitching

In MuseScore 2.0 you can re-enter the pitches without changing the rhythm. (I think it was implemented after our trip to New York and a chat with a music engraver who happens to be my interviewer now!)

Section breaks

Section breaks make it easier to create several pieces or movements in the same score by resetting the measure count, the key signature, and more.

Some more new features

  • Flexible chord diagrams — so you enter chord symbols using any common spellings including support for German and solfege note naming and lower case minor chords
  • Dynamic text styles — changes automatically apply to all elements with that style
  • More supported notations — support for Steinberg’s new open source Bravura music font, more flexible time signatures, pedal change markings, grace notes after (trill endings), falls/doits/scoops/plops/bends, bagpipe embellishments, figured bass, ambitus, early music notations, and a huge set of additional music symbols from Bravura
  • MusicXML import/export improvements — greater compatibility with other applications, ability to control degree of layout preserved
Chord symbol input in MuseScore 2.0
Chord symbol input in MuseScore 2.0

MuseScore general

Q: Many people may not know the history of MuseScore. Can you tell us how it started?

German developer and musician Werner Schweer started the project in 2002 to combine his two interests: music and software. As he is a Linux user and there wasn’t much music software available for Linux back then, he first started the MusE sequencer project. He then extended the framework of the sequencer with a rather naive implementation of some notation support. Soon it became clear that it would be very difficult to combine high quality notation with a MIDI sequencer.

Werner Schweer showing MuseScore Player app for Android, at FOSDEM 2012
Werner Schweer showing MuseScore Player app for Android, at FOSDEM 2012

As a consequence, Werner removed the notation capabilities from MusE and started a new project: MuseScore. He aimed MuseScore solely on producing high quality sheet music. MuseScore was developed in several stages. Starting with the proof of concept of a render engine, a more sophisticated layout engine followed. In some sense MuseScore was created out of curiosity to find out how things work. Since the first version worked mostly as expected, Werner nearly lost interest and MuseScore development paused for some time. Eventually he regained interest to make it a “real” application to also attract users beyond developers only.

Q: What are the most positive things you’ve experienced since starting to work on MuseScore?

Simply seeing the joy we bring with MuseScore and getting positive feedback on a daily basis. It make it extremely rewarding. It’s not often that you get the opportunity to make something which has a global impact.

Instructor Katie Wardrobe working with MuseScore at the 2011 Music Technology in Education Conference in Sydney, Australia
Instructor Katie Wardrobe working with MuseScore at the 2011 Music Technology in Education Conference in Sydney, Australia

Q: What have been the challenges you’ve faced so far?

No doubt the most challenging aspect to MuseScore is finding a good, long-lasting business model which works out for all stakeholders involved. MuseScore is a self-funded startup co-founded by myself, Werner Schweer and Nicolas Froment. We have chosen to work with limited resources as it forces us to be extremely conscious about the decisions we make and what to spend our time on. But we believe that there is a good opportunity to put a new business model in place that builds on top of the new technological advancements around social, mobile, cloud and big data, and that gives more value for the money.

Q: What are your favorite features in MuseScore? Any special user tips you’d like to share?

To best kept secret in MuseScore is the community support offered via the forums. A claim often made is that there is no support for free software. This can’t be more further from the truth for MuseScore. The MuseScore community is extremely helpful.

Q: What are some of the coolest projects you’ve seen produced with MuseScore?

Q: For many of MuseScore 2.0’s new features, I can think of an analogous feature in Finale or Sibelius that, in many cases, appeared many years ago. For instance, both Finale and Sibelius introduced dynamically linked parts at least eight years ago. Should we be comparing MuseScore to these programs in that way?

It’s inherent to software development that ideas and concepts are continuously improved while building on the past. There are, however, a couple of interesting differentiators from Finale and Sibelius due to MuseScore’s open source nature.

First, MuseScore’s notation software release cycle is not linked with business requirements to release updates every year. This gives the developers the time to put new features under serious scrutiny and only ship when it’s truly ready. Also, MuseScore is less prone to feature creep, as there is no reason to stuff releases with features that do not matter.

Secondly, open source developers can never be fired or forbidden access to the MuseScore source code. If someone wants to fix a long lasting bug, nothing can stop him or her. So perhaps next to comparing features, you may also want to compare the number of active contributors involved, the number of long-lasting bugs causing user frustration, the freedoms that come along with the software, and so forth. This will give you the complete and truthful picture of the state of a software package on which people should base their choice.

MuseScore development and the marketplace

Q: How much is MuseScore development influenced by other music notation software? Do you see your role as providing a free and open source product that can eventually match what is provided in the commercial products? Or do you see a more innovative, leading approach to MuseScore development?

Above all, the MuseScore development is lead by its developers who “scratch their own itch,” as they say in open source world. Believe me, it’s much more satisfying and rewarding to a developer to solve a problem through your own insights. There is no pride to simply copying over a feature from another software package. That said, when users decide to migrate from other notation software to MuseScore, they may discover that MuseScore lacks a certain feature they were used to. We see it as our role to accept feature requests, try to understand what a user likes to achieve and create the possible best solution for it. While many problems might be solved in a similar way as with other packages, more and more we’ll see new solutions due to a dramatic shift from paper to digital in the distribution and consumption of notated music.

A new era has arrived where aspiring musicians will not learn to read notes on paper, but rather through the use of interactive and engaging apps. These changes in consumption behavior will propagate all the way back to production of notated music. This is where MuseScore is taking a leading approach already, offering a vertically integrated solution for digital sheet music: powerful notation software to create digital sheet music, an online service with an API to distribute the sheet music, and finally web and native apps for iOS, Android and Kindle to consume the sheet music.

MuseScore running natively on mobile
MuseScore running natively on mobile

Q: Who are your core users? Do you try to cater to a specific part of the market (students, amateurs, teachers, professionals)?

Via a survey conducted in 2013, we learned that the MuseScore users were nicely divided between education, amateurs and professionals. It was almost like a third each. This is exactly where we want MuseScore to be. Our goal was always, and is still is to create free and easy to use music notation software which makes beautiful sheet music. With a Net Promoter Score of 68, the survey results clearly indicated that MuseScore users are very happy with it.

With MuseScore 2.0 specifically, we did intend to enlarge our target audience by adding tablature support and linked part editing. We are very curious to see the impact of that.

Q: What is the process by which features are considered? How can users submit new feature requests?

Everyone is invited to submit feature requests in the forums where most of the discussions take place between users and developers. Sometimes the feature exists already in MuseScore or there is a workaround. But if not, it goes to the issue tracker. Next it needs to be picked up by a motivated developer. Sometimes it can take years, sometimes it’s just a couple of hours. The process for bug reports is similar, but bugs which cause crashes or data loss are labeled as critical. Obviously those get immediate attention.

Most of the code is written by Werner (MuseScore lead developer) and smaller parts by Nicolas (MuseScore CTO), but more than 50 other individuals contributed code to MuseScore 2.0 on a voluntarily basis. Volunteering developers pick a bug or a feature request because they feel intellectually challenged and want to help improve the software. The integrity and quality of the code is safeguarded by Werner and Nicolas as they decide whether pull requests are getting pulled or not.

Q: Does MuseScore support the new SMuFL open standard for fonts? If not, do you plan to support it in the future?

MuseScore 2.0 does support SMuFL internally. Bravura, the first font implementing the standard is included with MuseScore together with a modified version of Emmentaler — the font originally developed by the Lilypond creators — and a modified version of Gonville, named Gootville and developed by Grzegorz Pruchniakowski. All these fonts implement the SMuFL standard. For now however, MuseScore doesn’t support the use of external SMuFL fonts.

Symbols master palette in MuseScore 2.0, including symbols from Bravura
Symbols master palette in MuseScore 2.0, including symbols from Bravura

Q: Do you see a future where all music notation software is free and open source, or do you think the ecosystem can support both the commercial products and products like MuseScore?

MuseScore entered the market in the summer of 2008 with the launch of the musescore.org website. Back then, the market of notation software was pretty much already consolidated in favor of Sibelius and Finale. We quickly learned that MuseScore was not able to differentiate itself on price, as those who were really intent on using free software used illegal cracked versions of the competing products. So we knew that we had to compete on product qualities. Open source in itself is not such a quality since the general consumer market does not care about it.

In the future I see, the ecosystem might be able to support several products appealing to different audiences. I see a browser based solution, a standalone native product, and finally some products which are closely integrated with DAWs.

Q: There have been a lot of changes in the business side of commercial music notation software in the past couple of years. What, if anything, does all this mean for MuseScore, or the wider music notation software market?

For sheet music to stay relevant in a world where everything competes for the same scarce good, i.e. people’s attention, it is important that there are continuous investments being made which result in new engaging experiences around music notation. So while at first sight these events may not be a very good sign, luckily there is a pretty vibrant scene of startup companies with big ambitions. MuseScore is among these companies, with the ambition to create a movement which leads to more available sheet music and therefore lowering the barrier for aspiring musicians to learn to play the songs they love.

Q: The Bach WTC project was interesting as a “meta” open source idea – using open-source software for an open source music project. Tell us about how that idea came about, and do you foresee other similar projects in the future?

Back in 2010 when we started developing MuseScore 2.0, we wanted to set some concrete milestones to make the development fun and rewarding. One idea was to typeset a challenging work to show that 2.0 was getting ready for serious work. One day when mingling with pianist Kimiko Ishizaka and her husband Robert Douglass, we stumbled upon a shared love for Bach’s Goldberg Variations. As Robert is a fellow open source software developer, the idea to create an open source edition and recording of the Goldberg Variations came naturally to us.

Kimiko would make a piano recording, while we would typeset the score with MuseScore and the results would be released to the public domain for everyone to enjoy and share. To fund this project, we raised nearly $24,000 through Kickstarter from 400 people. In 2013, we ran a follow up Kickstarter focused on Bach’s Well Tempered Clavier. This time $44,000 was raised from 900 backers. The new MuseScore edition of the WTC Book I was released on March 19th and can be downloaded, printed, shared, and rearranged.

Prelude and Fugue 1 – OpenWTC by OpenGoldberg

Not only did these typesetting challenges result in new dedicated features such as the album feature, we also acquired vital know-how on how to crowdsource the creation of a new edition. For the future, we plan to perform these initiatives on a larger scale and apply this to the whole body of public domain works.

Q: Tell us about the Google Summer of Code, its participants, projects, and results.

Google Summer of Code (GSoC) is a program funded by Google which aims to introduce students to open source development. The program gives students a stipend to work on an open source project during the summer. MuseScore got accepted to GSoC in 2013 and 2014, and received a the total funding of $42,000. Getting exposure through Google to hundreds of students trying to get a summer coding job was invaluable for a niche project such as MuseScore.

In all, seven students worked during three months on MuseScore 2.0, introducing new features such as MIDI file import, Swing playback, Guitar Pro import, selection filter, JACK support and more. Some of the students are still contributing to MuseScore to date.

Q: Tell us how you see MuseScore integrating with musescore.com and the mobile apps?

MuseScore offers free accounts on musescore.com allowing you to publish up to five scores. There are paid Pro accounts for those who want unlimited storage. Your MuseScore account works also with the free apps for iOS and Android. Publishing scores on musescore.com is made possible via the Save Online feature in MuseScore under the File menu. It’s the easiest way to make your scores available for use in the mobile apps.

MuseScore.com currently functions as a social sharing website for the MuseScore community, allowing you to see and listen to the sheet music, add to your favorites, comment on it, embed it in Facebook, Twitter and third party websites, add them to groups or sets, and more.

The MuseScore apps nicely integrate with musescore.com, allowing you to open your scores. You can listen to them, select which parts you like to see or hear, change the font size, adjust tempo in real time and transpose. The ability to create or edit scores is not possible yet, as we decided first to focus on adding more learning and practicing functionality. Once we fully understand how to develop for touch devices, we can take on score editing.

Q: What are some of the exciting areas you are working on for future versions of MuseScore beyond 2.0?

MuseScore 2.0 has been in development for five years. We want MuseScore 2.1 to be released a lot faster so we’ll move up to a shorter release cycle.  Currently we are in the process of making the roadmap for MuseScore 2.1 and see what would fit in. This is also a collaborative process just like the general development of MuseScore, so anyone can participate. Feel free to join us via IRC #musescore on freenode.net or in our forums.

Comments

  1. don

    no SCORE?!?

  2. Tom

    What about copyrights?

  3. Bob Zawalich

    To the MuseScore guys: I installed MuseScore 2, and I must say that it feels a lot more “real” than 1.3 did.

    I liked the linked notation/tab staves that change when you change the other staff, and looping playback is also something I miss in Sibelius.

    I will play around with it some more, but the first impression is quite favorable, even to someone used to working in Sibelius.

  4. Ralph L. Bowers Jr.

    Have not installed on my spare system as yet, but will in short order to test.
    One question: I have enjoyed having 1.3 as a Portable Apps….very handy.
    When might we expect a MuseScore 2.0 Portable Apps?

  5. Nicolas Froment

    PortableApps version is now available
    https://musescore.org/en/download/musescore-portable.exe

    1. Ralph L. Bowers Jr.

      Thanks for this…..good news as I have in the past used the portable apps version far, far more often than the desktop installed version of MuseScore.

  6. David Goethe

    My question is: which software/app would allow me to use my Samsung Tab Pro 12.2. tablet to WRITE music? With a stylus. With no midi playback and no rearranging notation to what the software “thinks” I meant to write (a problem I had with NotateMe). I would like to use software to use on my tablet as if it were paper, but with the advantages of digital storage, editing etc.

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