I wonder why it’s so hard to make a good brass sound in a music software. This is probably the best ive heard but far from perfect. Still a massive improvement
The brass player in me says “because the brass section is a window into soul” but I do have a theory. Brass players can create a huge variety in tone with their embouchure. In a slow lyrical passage we can have a very rounded tone. In fast, rhythmic passages we can have a much more focused tone. Now of course this is true for winds and strings as well, but I personally feel that with brass it’s very pronounced. Even if you have different samples for piano and forte dynamics, you’re going to be missing those subtle changes in tone that come from an emotionally informed realization of the piece. And that makes it sound lifeless. This excerpt sounds best on the long sustains because of the rounded tone in the samples, but as you can hear once the individual lines start moving it becomes an inconsistent mess
tantacrul, one of the important people in musescore, explains it in his latest video! simply put, MIDI only tells you when to start and when to stop, and cant tell you anything about how; therefore for musescore 4 they pretty much had to completely redesign how the entire system works. tantacrul describes it much better than i do, so i recommend giving that video a watch!
Check out StaffPad - look for a rendition of the finale to Stravinsky's Firebird. It's one of the best mockups I've heard with minimal tweaking. MuseScore 4 is actually using StaffPad technology, but it doesn't seem to be *quite as good yet.
Yeah... that's a very 'college' ensemble interpretation that the play engine is laying out there. Certainly there should be a transitional sample on these interval leaps... but this particular treatment of the trumpet is annoyingly excessive.
It's a bit of a hybrid (I recommend looking up the MuseScore 4 development video by Tantacrul, the lead of MuseScore). They effectively created an open source equivalent to NotePerformer that can read ahead and send the proper context to either the default libraries, or any VST you want to plug in now.
It's their own complete sampled library and play engine. It is built into the program and designed to read notation expressions and interpret the proper sample for the moment in context.
@@bravely_beep i have no clue, i believe it's due to the fact the samples and sampler were made by a seperate company that recently merged with musescore and not the core company
Congratulations for this short piece , i spouse there are the library that comes with the Muse Score 4 that the people are saying that are very good , 2 little details, the trumpets always go after the Horns , because they are in the family of the Trombones , and I cannot see the horns in F transposed to the right Key signature , a low 4th or a 5th above , but it doesn't matter.
You are referring to the traditional symphonic score order. But this order is neither universal nor is it required. Many ensembles, in their own scoring traditions do not abide by the symphonic order. This score is also in concert pitch because it is a mere mockup. That's why you don't see the transposition. It's worth noting that concert pitch scores, while rare, are also a legitimate format in print as well. In my 25 years of experience performing (trumpet) and composing for a variety of ensembles (as an ASCAP composer/publisher), I have seen all kinds of variations on the traditional order format, for various reasons.
@@carl_irwin It is ok , but normally i uses what you call as traditional score order , which even is used in the composers of our time, even John William in in the star wars score for orchestra . According to the transposed instrument, it is much better to me to read them transposed, and for printing the parts for the musicians as well, i don't have this software, but let me ask you if it is feasible that the software can do that for you ?
@@marcelouz1 Musescore can do anything. When I write symphonic works, I use orchestral order. When I write wind ensemble, I use concert band order. Pretty much all other ensembles follow the concert band order. Only orchestras put the horns above trumpets and percussion above strings. Wind ensemble order also places low woodwinds differently, but I won't get into it.
I would say that none of the notation playback engines get it quite right from a raw score. The idea, however is that there is enough quality interpretation to make a few notation changes to a copy of your score (a playback file) that will play more accurately the way that humans would. I would also suggest (as a life long brass player) that the dynamic ranges for the instruments are pretty spot on. Brass instruments can play as soft or softer than a low register flute or clarinet and considerably louder than anything else in the ensemble. So the dynamic range is quite extreme... i.e. of a 100 piece symphony orchestra, 10 brass instruments will command the dynamic sound of the entire group at maximum volume... but at the softest volumes, those same brass instruments will disappear in the strings. I recommend that you make a copy of your score and then tool around with the mixer, add duplicate instrument tracks and adjust dynamic/articulation markings as needed to create the most realistic playback. The example in this video is, in fact, a playback file and not the original score.
@@carl_irwin oh i get the dynamic range being extreme it's just that there were like minute ranges that were like unreachable even with a lot of playing around, so it couldn't quite balance throughout
The most obvious indication is that things will sound realistic. But of you look in the mixer, each channel indicates the sound set being used. In the drop down, Muse Sounds will be checked if you are using them.
The play engine correctly thinks that there should be a transitional sample between those notes... but it should be THAT sample. Haven't had issues with oboe yet. It might be buried in a single dynamic velocity sample that your piece keeps using. Try to select the problem note and place 1 dynamic level higher or lower on that note and then switch back on the next note to see if it resolves.
Over musescore 3 this is revolutionary. I'm so excited to play with this
I wonder why it’s so hard to make a good brass sound in a music software. This is probably the best ive heard but far from perfect. Still a massive improvement
The brass player in me says “because the brass section is a window into soul” but I do have a theory.
Brass players can create a huge variety in tone with their embouchure. In a slow lyrical passage we can have a very rounded tone. In fast, rhythmic passages we can have a much more focused tone. Now of course this is true for winds and strings as well, but I personally feel that with brass it’s very pronounced.
Even if you have different samples for piano and forte dynamics, you’re going to be missing those subtle changes in tone that come from an emotionally informed realization of the piece. And that makes it sound lifeless.
This excerpt sounds best on the long sustains because of the rounded tone in the samples, but as you can hear once the individual lines start moving it becomes an inconsistent mess
tantacrul, one of the important people in musescore, explains it in his latest video! simply put, MIDI only tells you when to start and when to stop, and cant tell you anything about how; therefore for musescore 4 they pretty much had to completely redesign how the entire system works. tantacrul describes it much better than i do, so i recommend giving that video a watch!
The noteperformer sounds are still way better I think
Check out StaffPad - look for a rendition of the finale to Stravinsky's Firebird. It's one of the best mockups I've heard with minimal tweaking. MuseScore 4 is actually using StaffPad technology, but it doesn't seem to be *quite as good yet.
because it plays depending on the players breath so its not standard and can vary a lot more than a person pulling slowly on a bow
1:53 I just dig that trumpet rip at the end lol
Yeah... that's a very 'college' ensemble interpretation that the play engine is laying out there. Certainly there should be a transitional sample on these interval leaps... but this particular treatment of the trumpet is annoyingly excessive.
oh thank god it sounds much better than musescore 3,, thank you for the showcase
Beautiful.
You are really good at writing music man
Very good brass writing.
Great stuff! Gotta love the huge upgrade with the instruments.
Interesting, is it a VST now and not a midi soundfont anymore?
Whichever it is, it sure sounds better than the Garritain libraries!
It's a bit of a hybrid (I recommend looking up the MuseScore 4 development video by Tantacrul, the lead of MuseScore). They effectively created an open source equivalent to NotePerformer that can read ahead and send the proper context to either the default libraries, or any VST you want to plug in now.
It's their own complete sampled library and play engine. It is built into the program and designed to read notation expressions and interpret the proper sample for the moment in context.
@@peterrichmond2748 no, it's closed source the sampler 💀
@@snesmocha Is it? I thought MuseScore's GPL license would prevent them including any closed source components
@@bravely_beep i have no clue, i believe it's due to the fact the samples and sampler were made by a seperate company that recently merged with musescore and not the core company
Mình đang tìm hiểu phần mềm này. Trước giờ dùng encore và sibelius, phần mềm musescore tiếng hay đấy chứ
Congratulations for this short piece , i spouse there are the library that comes with the Muse Score 4 that the people are saying that are very good , 2 little details, the trumpets always go after the Horns , because they are in the family of the Trombones , and I cannot see the horns in F transposed to the right Key signature , a low 4th or a 5th above , but it doesn't matter.
You are referring to the traditional symphonic score order. But this order is neither universal nor is it required. Many ensembles, in their own scoring traditions do not abide by the symphonic order. This score is also in concert pitch because it is a mere mockup. That's why you don't see the transposition. It's worth noting that concert pitch scores, while rare, are also a legitimate format in print as well. In my 25 years of experience performing (trumpet) and composing for a variety of ensembles (as an ASCAP composer/publisher), I have seen all kinds of variations on the traditional order format, for various reasons.
@@carl_irwin It is ok , but normally i uses what you call as traditional score order , which even is used in the composers of our time, even John William in in the star wars score for orchestra . According to the transposed instrument, it is much better to me to read them transposed, and for printing the parts for the musicians as well, i don't have this software, but let me ask you if it is feasible that the software can do that for you ?
@@marcelouz1 Musescore can do anything. When I write symphonic works, I use orchestral order. When I write wind ensemble, I use concert band order. Pretty much all other ensembles follow the concert band order. Only orchestras put the horns above trumpets and percussion above strings. Wind ensemble order also places low woodwinds differently, but I won't get into it.
@@carl_irwin Right , it is OK , have a nice holiday season
could you do Schumann symphony no.3 Rhenish trombone excerpt it would be a perfect example
Just finished if ya wanna check it out. Was this the excerpt or did I just work on the wrong one😂 ua-cam.com/video/3Iuyd6GKho0/v-deo.html
@@daneisert yes! that is the exact right one thank you so much! you are the best!!!
Is it wrong to get chills from a fake trumpet high note? A got a little goose bumpy from some of the horn riffs in the middle as well.
Mission accomplished
good lord
This program doesn’t work on my Mac. So annoying.
the dynamics are a bit too extreme. in a score of mine, mp trumpet was almost inaudible and mf trumpet was too loud
I would say that none of the notation playback engines get it quite right from a raw score. The idea, however is that there is enough quality interpretation to make a few notation changes to a copy of your score (a playback file) that will play more accurately the way that humans would. I would also suggest (as a life long brass player) that the dynamic ranges for the instruments are pretty spot on. Brass instruments can play as soft or softer than a low register flute or clarinet and considerably louder than anything else in the ensemble. So the dynamic range is quite extreme... i.e. of a 100 piece symphony orchestra, 10 brass instruments will command the dynamic sound of the entire group at maximum volume... but at the softest volumes, those same brass instruments will disappear in the strings. I recommend that you make a copy of your score and then tool around with the mixer, add duplicate instrument tracks and adjust dynamic/articulation markings as needed to create the most realistic playback. The example in this video is, in fact, a playback file and not the original score.
@@carl_irwin oh i get the dynamic range being extreme it's just that there were like minute ranges that were like unreachable even with a lot of playing around, so it couldn't quite balance throughout
what song is this
It's called "Bona Fide - Good Faith". I composed it last year.
How can you tell if Muse Sounds is turned on for your project? Couldn't find any solid info about this.
The most obvious indication is that things will sound realistic. But of you look in the mixer, each channel indicates the sound set being used. In the drop down, Muse Sounds will be checked if you are using them.
Sounds like midi fracked that high C. A score of mine players oboe VERY out of tune here and there and it’s super annoying.
The play engine correctly thinks that there should be a transitional sample between those notes... but it should be THAT sample. Haven't had issues with oboe yet. It might be buried in a single dynamic velocity sample that your piece keeps using. Try to select the problem note and place 1 dynamic level higher or lower on that note and then switch back on the next note to see if it resolves.
@@carl_irwin sounds good. I’ll try it