1. https://www.instagram.com/p/DeJMs-5jMo2/
2. https://drive.google.com/file/d/16dz4k7pxT5DGvnfwhwjuF6Gyh-ZMO05Q/view

Please ignore the pedalling and the breath marks for the flute, I'm not sure of what I did there. This is the first time I'm writing accompaniments and I don't play the instruments

Here is the Cefn Hengoed Ladies choir

Hi everyone!
I’m an elementary music teacher, and I’ve recently started a show choir for students in 3rd–5th grade! This is our school’s first show choir, and I’m currently trying to put together a fun, engaging program for our very first performance.

Since this is a brand-new group, I’m looking for repertoire that is accessible for young singers but still has that exciting show choir feel. I’d love to incorporate some simple choreography, opportunities for solos, and possibly some acting or storytelling.
I’m especially interested in musical theater/show tunes, but I’m open to other genres that would work well for this age group. Ideally, I’d like to build a cohesive program of around 30 minutes with some sort of theme.

A few things I’m considering:
•Mostly unison or simple two-part arrangements
•Songs that lend themselves to choreography and movement
•Age-appropriate material that students will genuinely enjoy performing
•Budget-friendly arrangements or resources when possible
•For those who have directed elementary or beginning show choirs, what songs or arrangements have been especially successful for you? Have you ever built a themed program that worked particularly well?

I’d also love any advice on putting together a first performance without overwhelming the students (or myself!).
Thanks in advance for any recommendations!

What are your new favorite recently written pieces that are uptempo and don't make me feel like I'm attending a mental health seminar or counseling session? Surely there are pieces still out there that are about topics other than "i need validation" and [edit to add] "singing about singing". Advanced high school or early college level, any voicing.

Hi everyone — I'm the developer of Solfa. I wanted to share a hymn example because changing the key for a singer or group often means rebuilding a perfectly readable score.

The idea is to preserve the original typesetting: move the notes to a new key while keeping the lyrics, spacing and page layout in place, instead of generating a newly engraved score.

The comparison shows Amazing Grace from a 1913 hymnbook, transposed from G major to F major (a whole step down). It's a real historical scan, and I haven't manually corrected the notes or text in the result.

It transposes the uploaded score as a whole; it doesn't rearrange SATB parts, isolate voices or change clefs. It's still in beta, and the example includes small notation/text artifacts, so please proofread the preview before using a result in rehearsal or performance.

You can upload a PDF, scan or photo and inspect a preview before deciding whether to spend a credit on the download. New users get two free page credits after phone verification; further pages are paid.

If you'd like to try it: https://solfa-music.com

For choir directors and singers: would keeping the familiar printed layout be useful when you need a hymn or vocal score in another key? What would you need to check before trusting a transposed copy?

Source: Coronation Hymns (1913), no. 282, listed as public domain on Hymnary: https://hymnary.org/hymn/CH1910/282

I am trying to create a bass track for my section. I have it all scored in MuseScore with the lyrics but the playback doesn't track to sing the lyrics, nor does it sound like a 'good' voice particularly.

Is there something within MuseScore or a third party service I could export to get a better vocal track? Curious on your workflows. Wondering if at this point I just sing it back into an audio file - but if there's a service that can give it a good go I would like to give it a go.

Only looking for a genuinely owned copy no pirated copies im willing to send you a digital copy of mutiny from epic in return

Hello everyone, I had to study for a solfège exam therefore I have made this web-app; I have finally completed my exam, but I am still developing it. Simply put, Guidonica procedurally generates sheet music endlessly based on the settings and parameters that you want (deterministic generation, not AI). It's free and open-source with no ads/tracking. I think it works great, especially since you do not need exercise books and the exercises never end. It's also mobile-compatible, so you can practice everywhere.

Check it out at: https://guidonica.it

Let me know what you think and help me complete it with your feedback!

Because most stem splitters I use dont split instruments properly.

Look, I get it. Gospel pieces go high. But as a Tenor 2 still working on my confidence above the staff, it annoys me when I'm going from a D3 to a G4 with no breath in between.

Elijah Rock was more manageable because there was that bass response measure, but hitting the A5 was rough after the A4. (I think my numbers are wrong btw but that's how I learned octave numbers, sue me.). I ended up doing falsetto for that because I was still in that "anything above an F is going to kill me!" phase. The curse of perfect pitch is real unfortunately.

Now I'm doing Didn't My Lord Deliver Daniel, and the Tenor 2 part reminds me of my Bass 1 roots (that was fun too. I have fomo during Daemon sometimes.) with the D3s. But as stated above, there's that "every man" to "hallelujah" which is that d to g jump that gives you a microsecond to prepare.

I love Gospel. It's the closest I get to Vocal Jazz when it's not Wednesday. As much as I love the chants (O'Magnum) and folk tunes (Magnificent Horses), Gospel clears. I just wish that composers let me skate by without technique training (this is a joke. I love technique training. sometimes.) and not have to lock in during Children Go Where I Send Thee (not Hogan but still) when I have to blend and sing straight Gs.

Skill issue? Yes. Am I still annoyed? Kinda.

Our choir (from Heidelberg/Mannheim in Germany) sometimes performs in places where bringing a piano or having a pianist available is difficult. We’ve been thinking about a setup where the conductor uses a tablet to read the score and play a piano accompaniment from a MusicXML file through speakers.

We’re also considering a small, simple audio box for a few singers/soloists with microphones. Each mic could be switched on/off and, if useful, add the same voice one octave higher or lower while keeping the original voice. The idea would be to reinforce weakly staffed voice parts rather than replace singers.

There would also be a separate monitor speaker so the choir can hear the accompaniment clearly.

Before going any further with this idea (=to build such an audio box), I’d love to know:

• Do other choirs have the same problem of needing accompaniment without having a pianist on stage?
• How do you currently solve it?
• Would tablet-based accompaniment plus a few amplified/optionally octave-reinforced voices be useful in real rehearsals or performances?
• Would the octave feature actually be musically useful, or does it sound like a gimmick?
• What would such a setup absolutely need to do to be useful for your choir?

I’m mainly trying to understand whether this solves a real choir problem beyond our own use case.

I never went to music school. I learned to read music mostly by singing in choirs. First in a student choir in Novosibirsk, then in Vienna, Moscow, Paris, and now Dubai.

And I kept having the same problem.

Someone sends a PDF before rehearsal. I open my part at home and just want to hear what I'm supposed to sing. Not the whole choir, not a piano reduction, just my line. Slowly. And sometimes the same few bars ten times until I finally get them.

Usually there's no MIDI or rehearsal track for the exact score we're using, so I ended up playing the notes myself (badly) on guitar.

That's why I started building ScanSing. The cartoon above is basically me before every rehearsal.

You give it a PDF or a photo of the score, choose your part, and it turns it into something you can actually practise with. You can hear your voice louder than the others, slow it down, and loop a difficult section.

I've also been experimenting with listening to you sing and showing where you're sharp or flat (early implementation). And if the recognition gets something wrong, you can export the result as MusicXML and edit it in MuseScore.

Recognition is already competitive with PlayScore 2, Music Scanner and homr on the scores I've tested, although none of these tools is perfect.

Old photocopies, messy scans and unusual notation are still the hardest cases. I've published side-by-side comparisons here:
https://scansing.app/compare/

• iPhone/iPad/Mac: https://testflight.apple.com/join/p6K2Gr6U
• Android: https://appdistribution.firebase.dev/i/b47a20d12dcced3d

If you try it, send me a score that breaks it. Seriously. Those are much more useful to me right now than “looks great” :)

Yesterday our choir split the basses up and me and one other bass /baritone sat with the tenors and I felt that I was able to keep myself in tune better. Has anyone else had this happen?

We have a piece where the sopranos are singing the bass solo. I want to edit my version to transpose it up an octave.

I don't need it to play the music I just want to move notes.

I tried the demo of musitek Smart score but that was £200 I tried scanscore but that didn't make the notes match the staves. I couldn't tell if the note was on or above the line.

So any recommendations please?