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MuseScore is my favourite free music notation software. It is quite easy to use and very good alternative to Sibelius. I used MuseScore all the way through my music degree, so it is also pretty quality.

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Why MuseScore?

Professional music
notation software

Completely free,
no limitations

Transfer to and from other programs via MusicXML, MIDI and more

MuseScore is built by an open-source community

Supporters

3499 comments
in the last 30 days

Developers

44 active contributors
in the last year

Translators

69 languages
1289 translators

MuseScore is used by schools, conservatories, choirs, orchestras, ...

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Free music composition and notation software | MuseScore

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Create, play back and print beautiful sheet music with free and easy to use music notation software MuseScore. For Windows, Mac and Linux.

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Staff Wars is an app students can download on their devices that I've used in both private lessons and in a classroom setting. It is a great way to get students practicing reading notation in any clef, with instant feedback. I've set up a scoreboard for a bit competitive motivation and fun in my class before.

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I downloaded this after a teacher at a conservatory recommended it to our class piano class and I have it to thank for jumpstarting my sight reading ability. It's not a replacement for reading and playing actual music, but made it so I could practice anywhere at the drop of a hat, and really helped get me up to speed. If I could make one suggestion to the developers, include playback of the actual pitches as you input your answers, that will help students develop their relative pitch, and will make it all around a more musical experience.

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I downloaded this after a teacher at a conservatory recommended it to our class piano class and I have it to thank for jumpstarting my sight reading ability. It's not a replacement for reading and playing actual music, but made it so I could practice anywhere at the drop of a hat, and really helped get me up to speed.

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Glenda Hodbell Padlet - Digital Pedagogy

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Glenda Hodbell Padlet - Digital Pedagogy

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From the makers of Staff Wars comes Staff Wars Live which moves the skills of students pressing the correct notes on the screen to having to play them on an instrument. I've used this in instrumental lessons for differentiation specifically in sight reading.

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Built on the success of the original 'StaffWars', StaffWars Live offers game play designed to aid students in instrumental practice. Choose your instrument, key signature, scale and note range, then play the notes that appear on the staff with your instrument to destroy them before they damage you clef. Notes get faster with every ten correct and you get three lives.
Press the "Settings" button to change your instrument, scale, key signature and adjustable note range. All notes are in the instruments' written pitch (i.e. Clarinet in C major would be concert Bb Major)
All your scores are saved when exiting the game, so you can track your improvement. Scales include Major, Major Blues, Minor Blues, Chromatic
Need to practice transposition? StaffWars Live has got you covered. All notes are in the instruments' written pitch, so you can be a french horn player and select 'Trumpet' to practice transposing to Bb.
Connect any MIDI device to trigger the game with MIDI.

Note range = from 4 Spaces Below to 4 Spaces Above Clef
Start speed adjustable.

***NOTE*** - Make sure your instrument is in tune prior to playing StaffWars Live. Always play with good attacks and good tone. Game sounds may trigger the pitch detection so it is a good idea to turn your iPhone\iPad volume down while playing with the sound turn on.

Version 1.70

Baritone BC Added
Baritone TC Added
Mini Bassoon Added
iPhone Pro 12/13 screen size fix
Rebuilt with AudioKit 5
Bug fixes

Bugs and questions can be sent to tmimediallc@icloud.com

Pretty great game

This is a really neat game. So far I've got some good responses from my students. I would like to see the grand staff as an option, well as an option to penalize too many wrong answers. Also preventing the game from wanting treble notes on a bass staff would be helpful- right now if you don't change the clef in settings that can happen. I look forward to future possibilities with this kind of technology. Only .99 worth it !

You need to make sure the instrument selected in 'Settings' is a bass clef instrument. What you describe is when you have a treble clef instrument selected and then use bass clef.

Best app for learning notes on the staff - HANDS DOWN

If you are a musicteacher, please trust me and just buy this now. This latest take on this "typing tutor" style gamification is yielding almost magic results.
I've been teaching piano for over 15 years. The results I've had after two weeks with my students this semester is astounding. In two weeks I have seen multiple students go further than they went in a year in reading.. I highly recommend this to anyone who wants to teach or learn to read music for the piano. Before Staff Wars LIVE, the original Staff Wars was my goto for teaching the notes on the staff. It had beaten out LineSpace which had way less cusomization and hadn't updated since 1.0 YEARS ago. By opening up the microphone, makign the text larger and simplifying all of the options while offering more control it went other level. These earlier apps revolutionized teaching note reading. StaffWars Live takes it to an entire other level.

It has issues but ok when it works.

I'm not sure if this app is tuned to something other then A=440. I tune my instrument before using the app and I always have to adjust the slider because it's not picking up the notes correctly.

I been playing clarinet for over 20 years. I want to use this app to practice playing bass clarinet in bass clef and to practice transposing Bassoon to Low C bass.

My main issue is the following:

When practicing reading bass clarinet on Bass clef the notes are not correct. In bass clef the first space is an A. In treble clef the first space is an F. When the mode is set to bass clarinet with bass clef. The first space is still reading an F which is not correct. Therefore this mode is completely useless. If I set the settings to bass clarinet treble clef it works as expected but I have no use for that. I already know how to read treble clef.

If the developer can fix that would be great. Also having a slider to select A=440 or A=442 or something else depending where you are in the world would be great.

As a middle school band director (in the USA), I have never seen a piece of music have the Bass Clarinet part written in Bass Clef; always in Treble Clef. I can add that to the next release. As for A=440 or 442, the pitch detection is not that picky.... either should work... but I will look into it.

The developer, TMI Media, LLC, indicated that the app's privacy practices may include handling of data as described below. For more information, see the developer's privacy policy.

Data Not Collected

The developer does not collect any data from this app.

Privacy practices may vary, for example, based on the features you use or your age. Learn More

Information

Compatibility

iPhone

Requires iOS 13.0 or later.

iPad

Requires iPadOS 13.0 or later.

iPod touch

Requires iOS 13.0 or later.

Family Sharing

With Family Sharing set up, up to six family members can use this app.

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‎Built on the success of the original 'StaffWars', StaffWars Live offers game play designed to aid students in instrumental practice. Choose your instrument, key signature, scale and note range, then play the notes that appear on the staff with your instrument to destroy them before they damage you c...

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Noteflight is a free music notation software based on the web. This is not a bad way to get students into using music notation software at a starting point. This software doesn't play well on iPads.

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Noteflight - Online Music Notation Software

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Noteflight is an online music writing application that lets you create, view, print and hear professional quality music notation right in your web browser.

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GarageBand is an excellent tool to use for composing music, especially if students want to record their compositions from real instruments. Students can use MIDI cables to plug in keyboards, guitars, or microphones.

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GarageBand for Mac has everything you need to learn, play, record, mix and share incredible music, even if you've never played a note.

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musictheory.net is a great place to practice all sorts of ear training and music theory skills. This is an important tool to get students practicing their skills independently of your lessons. Students can practice Reading, Writing, and Listening exercises.

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Introductory and intermediate music theory lessons, exercises, ear trainers, and calculators.

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I discovered this resource 'Game Composer' through my colleague Samuel Bauer as he wrote a brilliant blog post on the resource. I haven't used it myself, but look forward to giving it a try in the future. It seems to be in a collection of other music classroom resources through MusicEDU that could be worth checking out.

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GameComposer Teach them what they need to know, through the music they love.https://vimeo.com/908090356?share=copy GameComposer opens doors for the modern m ...

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Vivi has been an incredibly useful tool in my music classroom. I have used it as a regular tool to share my laptop screen, but also as a interactive whiteboard when completing dictation exercises. In terms of SAMR it is probably limited at the Augmentation phase, to be generous.

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Vivi | Wireless Screen Mirroring for the Modern Classroom

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Vivi is a screen mirroring and digital signage solution designed exclusively for education, transforming the classroom into an interactive learning space.

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Sound Thinking Australia is a collection of music classroom resources covering pegagogy from early childhood all the way to tertiary. The resources range from worksheets, to games, and even resources for relief teachers. Incredibly valuable collection of resources.

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I have been a customer of Sound Thinking for over 10 years and it is still the first place I go when requiring resources (and excellent PD).
Hayley and Michael are always more than happy to go above and beyond in recommending resources, or sourcing texts for their customers. The vast range of materials means that I can source everything I require within the one place which is so handy- particularly when purchasing for school.

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Cuskelly music courses for educators, singers, school students & the community.

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Autralian Music Centre is a database that would be particularly useful in an Australian Music unit. You can easily browse repertoire and resources related to Australian Music from pre-1945 to 2000s.

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By Tessa Brinckman

By Leah Blankendaal

Browse introductions to Australian Music

The Australian Music Centre acknowledges First Nations people as the Traditional Owners and sovereign custodians of the lands on which we work and live. We recognise their continuing connection to Country and their respective nations across this continent and pay our respects to their Elders past and present.

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Australian Music Centre Online : Breaking Sound Barriers

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The Australian Music Centre provides access to recordings, scores, articles, analysis, digital samples, artist profiles, biographies, event listings, education resources and more - providing in depth coverage of Australian art music and sound art practice.

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Berlin Philharmonic Digital Concert Hall is a great resource for aural analysis or examples of quality orchestral performance. It has concert videos, films and documentaries on the orchestra, as well as interviews with conductors and soloists.

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Over 700 concert videos from six decades

Enjoy the Berliner Philharmoniker in the best sound and picture quality in concert videos and curated playlists.
Go to the concerts

Films, documentaries and artist portraits

Enjoy the Berliner Philharmoniker in the best sound and picture quality in concert videos and curated playlists.
Go to the films

Numerous interviews with great conductors and soloists

Find out more about classical music and the guests of the Berliner Philharmoniker in our interviews and concert introductions.
Go to the interviews

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Enjoy the Berliner Philharmoniker in the best sound and picture quality in concert videos and curated playlists. Go to the concerts Enjoy the Berliner Philharmoniker in the best sound and picture quality in concert videos and curated playlists. Go to the films Find out more about classical music and the guests of the Berliner Philharmoniker in our interviews and concert introductions.

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Bloom's Taxonomy underpins the pedagogy for developing critical thinking in students, and is also closely linked with the SAMR framework. This source focussed on linking Blooms specifically with music and the arts. I saw this resource on Chloe Sibley's padlet and think it will be extremely valuable to share among music teachers.

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When I learned Bloom's taxonomy as an undergraduate, I always thought that the arts were short changed. Sure, there was the affective domain, but it just didn't have the depth to it that the cognitive domain had, and the affective domain was often presented as a sort of afterthought. When the taxonomy was revised, this changed. Bloom's revised taxonomy is a more inclusive and complete model of how intellectual processes work for all subjects, including music. Because of this, Bloom's revised taxonomy is useful for writing lesson and unit objectives. In this post, I'll examine music tasks in relation to this taxonomy.

The revised Bloom's taxonomy has 6 levels: remembering, understanding, applying, analyzing, evaluating, and applying.

The levels increase in complexity from bottom to top. A major shortcoming of traditional teaching practice has been that too much attention was given to remembering and understanding, while students were asked to do relatively little at the upper four levels. The third level, applying, is really the gateway to relevant, meaningful, and lasting learning, because it is at this level that learning transitions from being abstract to practical; students can not only remember and explain, but they can also demonstrate and transfer learning to new situations and immediate needs.

Many teachers don't realize how much of their teacher is at the remembering level. For music teachers, songs, tonal and rhythm patterns, instrument fingerings, and defining musical terms are all remembering level tasks. Questions like, "what is the name of the whole note in the first measure?" or "what does crescendo mean?" are remembering questions. If a music teacher plays or sings a phrase of music and then asks the student to play it back the same way, that is also a remembering question as is practicing a passage over and over. These remembering tasks constitute a good deal of what students in music ensembles are asked to do. It is all remembering of fingerings, and repeating of a task until a level of competency is reached. Math teachers who give students pages of addition problems are also just asking students to remember. It is practicing something that has already been learned in order to get better at it. There is increased competency, but no new meaning is being learned, and no application of what is being practiced to a new situation is being attempted. If an objective for a lesson plan is that students will be able to play or sing a given passage of music with correct notes and rhythms, this is nothing more than a remembering objective.

So does this mean we shouldn't ask our students to practice? Certainly not. It does mean that we need to change what we expect them to do when they practice. I have written elsewhere about the importance of telling students why they are being asked to do a task; of students understanding the end to which a task is the means. Our subject here is different. Here we are interested in going beyond skill to reach meaning. The two phrases used in the understanding level that are of particular interest are "construct meaning" and "interpret." In a structural sense, we construct meaning out of the patterns and groupings we perceive when we listen to music. We generally have no trouble moving to the pulse of music, of grouping a sequence of musical notes into a rhythm pattern or melodic phrase, or of perceiving the difference between a waltz and a tango. In forming mental images of rhythmic, metric, and grouping structures, we are literally constructing meaning out of sounds. We are ascribing to what we hear an organization that enables us to make musical sense of the sounds by sorting them spatially and temporally. A student who is constructing meaning from music he or she is practicing might answer questions like, "what pulse do I perceive in the music?" "How many notes are contained within each pulse?" "How many beats or measures of music seem to go together before there is a natural break or pause, or before the pattern repeats? "At what tempo within the parameters of any tempo markings do I most enjoy playing this music?" "What can I do to bring out the qualities in this music that I enjoy so that others will notice them and enjoy the music as I do?" Answering these questions naturally leads into interpreting, which is taking meaning and performing in such a way that it is communicated or shared with listeners.

When a student has learned to answer questions like these, and to make constructing meaning and interpreting a priority for practice sessions, that student is then ready to operate at the application level. For example, once a student has learned to determine where the phrases and phrase boundaries are in one musical work by answering the question, "How many beats or measures of music seem to go together before there is a natural break or pause, or before the pattern repeats," they can answer the same question, looking for the same things in another piece of music. They can also use prior learning to solve problems that show up in new works. Perhaps the first work had a repeated or parallel phrase, as in the "Ode to Joy" melody, so finding the phrase boundary was a matter of finding where the repetition began. Now the new work doesn't have a repeated or parallel phrase, but instead it has a note longer than surrounding notes so that the music rhythmically pauses between phrases. Or perhaps the phrase ends on a cadence, or begins in a new register or at a contrasting dynamic. The student is still finding patterns, but the patterns are defined differently in the new work, so s/he must answer the question, "where is the boundary between phrases" by looking for different evidence.

Application has already led us somewhat into analyzing; finding the phrase structure and cadential points is surely analysis. In analysis, the student goes further, finding out how the various parts relate to each other. We find where the antecedent and where the consequent phrases are. We find where the tension builds and where it relaxes, and what rhythmic and tonal relationships make it so. We find parallel passages and learn in what ways they are similar, and we find contrasting themes and in what ways they are different. The results of all of this analysis get folded back into interpretation, as the performer makes phrases, contrasts and similarities clear to the audience, and brings the whole practice experience to a higher, deeper, more meaningful level as the student directs his or her attention and purpose to matters far beyond the learning of notes and rhythms.

Evaluation is part of the practice process. As music is practiced, what has just been done must be evaluated so that the next action is apparent. Interpretation as well as accuracy must be practiced, and so each attempt is evaluated for how well the intended interpretation was done, and how accurately the pitches and rhythms were performed.

At the top of the pyramid is creating. I think it's significant that creating is the highest level. We sometimes discount the creative process by throwing students into composing tasks without giving them substantial learning opportunities at applying, analyzing, and evaluating. If students spend most of their music time singing and playing instruments, then we must find ways for them to transfer what they have learned performing to creating. Taking melodies they are learning and asking them to change a rhythm or change the last note of the phrase so that the effect or intent changes are possible activities to this end. Evaluating music others have written, and then writing similar music is also a time-honored technique. Trying out alternative interpretations is still another. It is not realistic to expect students to create music "out of thin air." They must have the intellectual grounding from which the creative process can operate.

The top three levels of Bloom's revised taxonomy can easily be a challenge for students and teachers alike. The new national core arts standards are helpful, because much of the standards found therein push students to those higher taxonomy levels. Pushing our students there creates a surge of challenge and motivation that students and teachers who have been stuck at the lowest levels of the taxonomy need.
If you would like to read more on this subject, please follow this link to another article.

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Music Teaching and Bloom's Revised Taxonomy

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When I learned Bloom's taxonomy as an undergraduate, I always thought that the arts were short changed. Sure, there was the affective domain, but it just didn't have the depth to it that the cognitive domain had, and the affective domain was often presented as a sort of afterthought.