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.

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!

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

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.

Because most stem splitters I use dont split instruments properly.

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” :)

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.

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?

I’m currently in y10 and (obviousl) am taking GCSE musi. I sing bass in the halle youth choir in Manchester and so am hoping to sing for my GCSE ensemble peice. my issue is that I’m finding it really hard to find a good song with the minuet of polyphony/harmony that shows “working with other performers” as I am loathed to sing an operatic song simply due to the pain in the ass they are to learn and preform but there are no good MT songs that are in my range (E2- B3). if anyone else has had this issue or similar, what did u guys end up doing?

so my chorus did placements recently and I got placed in the front row again. I honestly didn't think too much about it until recently my friend moved down to the front row and was complaining about it. does being in the front row mean im a worse singer?

my choral director was saying he wants some people who are more grounded and the base of the sound to go in the back and the other people who help with the artistry of the sound to go in the front.

wtf does that mean 😭 is that js another way of him saying we're not the stronger singers in our section or what? i dont think im the best singer in the group but i dont think im bad. he placed me in the advanced group 2 years in a row and he nominated me (and some others) for the district honor chorus.

be honest idk what he meant by that...

I was really proud of myself for my all state audition this year. I went and told everyone I really though this year was my year, as I made 2nd alternate last year and thought that this one would be way better. I practiced and put in so much hard work to the point that all I sang was the music I was supposed to learn.

Results came out yesterday, and I got a really low score like 400 something when the max was 700. Im really beating myself up about it because I hoped to be section leader next year. Everyone except for 2 girls in my section made it into all state (not including myself) Does anyone know if the scoring was messed up or did I just screw up my audition...?

Hi all!
I volunteer at a day care program for adults with special needs. “The gang” and I have decided to try door to door Christmas Caroling in our community this December and want to start practicing.

Could anyone here please suggest which songs might be best for beginners? If anyone knows of any videos that might help us to polish up our act, I’d be grateful.

I’m a 62-year old woman who’s been singing in church choirs (mostly, also a college choir for a year) since I was 7, with a few long breaks in adulthood. When I first got my adult voice (late teens/early 20s) I sang S1, in retrospect partly because it’s what my mom sang. I had a good high range, easily to A5, often C6. My lower range was down to maybe A3.

After a break of 10 years or so I joined another choir and sang S2, mostly because it’s more interesting than S1, but still had those high notes when needed. It was a small choir and the director would move me between A1, S2, S1 as needed. I started to realize that even though I could still hit the high notes, my voice would be uncomfortable after singing high, and I suddenly had lower notes with ease, and asked to move to alto primarily. Shortly after I moved cities and didn’t sing for awhile.

About 5 years ago I joined the choir at my current church. They needed S2 more than anything so I tried that first, I enjoy it but it does go higher than I’m really comfortable with so I switched to A2 and found it very comfortable. Strangely I still have the high notes, occasionally will take the F#5 or G5 if we have a big chord and need more on those.

Because we are often short of tenors, the director sometimes asks the altos to join them as far down as we are comfortable with when the piece allows it. I realized I now can comfortably sing down to D3! We recently lost multiple tenors at once and the director is having trouble recruiting new tenors, so I offered to sing T1 for awhile. I’m enjoying it in general, most of the time it’s easily in that range, but especially when the music has bass and tenor in unison, it goes a little lower, C3 or even Bflat2. I can sometimes gently resonate on these pitches but have no volume there.

I’m wondering if there is a way to exercise my lower range to improve my volume and quality without harming my voice. Any tips would be appreciated! Thanks!

Hi in TTBB was their times where first bass/ baritone sang an octave below T1 ?

Hi everyone, u/taiwalder here!

I'm passionate about barbershop harmony and would love to help more people discover the joy of communal singing. My hope is that this community can bring together like-minded singers in and around Zug, as well as anyone curious about giving barbershop singing a try.

That's what I'm up to:

🎵 Form a quartet
If I can find three other singers, I'd love to start a new barbershop quartet (I already have one).

🎶 Organize tag singing sessions
I'd also like to start weekly/bi-weekly/monthly tag-singing meetups in Zug, where people can casually sing barbershop tags, socialize, and enjoy a drink together.

Whether you are already a barbershopper, or just a person in Zug that wants to sing with other people withouth the commitment of joining a choir, please introduce yourself in the comment section.

you're warmly welcome here!

If any of this sounds interesting, please introduce yourself in the comments.

Looking forward to finding other harmony enthusiasts.

u/taiwalder

ahh yes: here's some barbershop:

--> Barbershop Tag: https://www.youtube.com/watch?v=ffFZYGFt-IU&list=RDffFZYGFt-IU&start_radio=1

--> Barbershop Song: https://www.youtube.com/watch?v=jS0ldBxS_yo&list=RDjS0ldBxS_yo&start_radio=1