Demo
Try it without an account.
Three scores below play in this page. Slow them down without dropping the pitch, loop the bars that are not working yet, and read the notation while the recording runs. Then take a dozen printed editions away with you.
Three scores, one player.
Pick a score and load the player. Nothing makes a sound until you press play.
OpenVoicing Demo. A short excerpt written for the player itself. The quickest way to watch the notation, the transport and the tempo control move together.
Score and recording made for the OpenVoicing demo bundle.
- Take it to 60 percent
- The tempo control slows the recording down without dropping the pitch, so an under-tempo run is still in tune with the instrument in your hands.
- Loop the two bars that are not working
- Set the loop over the passage rather than the page. Most difficulties are two beats long and get practiced as four bars.
- Read while it plays
- The score and the recording are synced, so the notation follows the performance and you can see where the bar you are hearing sits on the page.
This page is just the player. Inside an account the same player logs the time you spend playing, in whole minutes, and stops counting while the tab is hidden. How the interactive scores work
The library
A dozen from the library.
The demo library is 54 public-domain works. Here are twelve of them, across 3 genres, 10 instruments, and all five difficulty bands. The PDFs download straight from this page, with no account and no email address, and you can upload the ones you want into a library of your own.
Gavotte in G major, HWV 491
George Frideric Handel
A short dance movement, two pages at most, with a clear phrase structure. A good first Baroque piece and a gentle introduction to ornaments.
Download the PDF1 page, 52 KB
Menuet in G major
Johann Sebastian Bach
The Menuet from the Anna Magdalena notebook, set as a trumpet duet. Short, familiar, and an easy first duet for two students at different levels.
Download the PDF1 page, 51 KB
Amazing Grace (New Britain)
Traditional
A four-part hymn for voices: soprano, alto, tenor, and bass on one page. A choir can sight-read it cold, and everyone already knows the tune.
Download the PDF1 page, 46 KB
Gymnopédie No. 1
Erik Satie
Slow, bare, and unhurried. The notes are within reach early on, which makes it a good first study in voicing a melody over a quiet accompaniment and in holding a steady pulse without rushing.
Download the PDF2 pages, 164 KB
Air on the G String
Johann Sebastian Bach
The Air from the third orchestral suite, arranged for flute and guitar. Long, slow, exposed lines, which makes it as much a breathing exercise as a piece.
Download the PDF2 pages, 83 KB
The Entertainer
Scott Joplin
The classic rag. The whole lesson is in the left hand: a steady stride pattern that must not follow the syncopated right hand around. Practice hands separately far longer than feels necessary.
Download the PDF4 pages, 249 KB
Étude Op. 60 No. 3
Matteo Carcassi
The best known study in the set. A melody has to sing over a moving accompaniment played by the same hand, which is the whole difficulty and the whole point.
Download the PDF1 page, 167 KB
Greensleeves to a Ground
Anonymous
From The Division Violin of 1685: the familiar tune followed by increasingly elaborate divisions over the same bass. A period lesson in ornamentation.
Download the PDF3 pages, 75 KB
Cello Suite No. 3 in C major, BWV 1009
Johann Sebastian Bach
The complete third suite. The Bourrées are often learned first and are the most approachable way in; the Prelude asks for confident string crossing.
Download the PDF8 pages, 321 KB
Thirty Caprices, No. 1
Ernesto Cavallini
The first of Cavallini’s caprices, still standard study material. Wide leaps and quick articulation changes across the whole range of the instrument.
Download the PDF1 page, 68 KB
String Quartet No. 4 in C minor, Op. 18 No. 4, I. Allegro ma non tanto
Ludwig van Beethoven
Parts for the full quartet. Dramatic and tightly argued, and one of the more grateful Op. 18 movements to program.
Download the PDF16 pages, 336 KB
Partita in A minor, BWV 1013 (alto saxophone)
Johann Sebastian Bach
Bach’s unaccompanied flute partita transposed for E-flat alto. Famously written with almost nowhere to breathe, so the breath plan is the first thing to work out.
Download the PDF6 pages, 255 KB
Engraved by the Mutopia Project.
Somebody set every one of these files by hand, and they are readable because of it. Here is who, and from which edition.
Every PDF above is a public-domain engraving from the Mutopia Project, which typesets music with LilyPond from out-of-copyright sources and gives it away. The compositions are long out of copyright, and each of these files was published by Mutopia under its Public Domain designation, which places no restriction on copying, distribution or modification.
Mutopia also carries entries under Creative Commons licenses, which come with attribution and share-alike obligations. Those were deliberately left out, so nothing here needs permission to print, mark up, transpose or hand to a student.
Source editions
- Gavotte in G major, HWV 491George Frideric Handel
- Edition Schott 1930
- Menuet in G majorJohann Sebastian Bach
- Transcribed
- Amazing Grace (New Britain)Traditional
- www.cyberhymnal.org
- Gymnopédie No. 1Erik Satie
- Dover Edition
- Air on the G StringJohann Sebastian Bach
- New adaptation from Bach-Gesellschaft
- The EntertainerScott Joplin
- Reproduction of original edition (1902)
- Étude Op. 60 No. 3Matteo Carcassi
- Mayence, B. Schott's Söhne
- Greensleeves to a GroundAnonymous
- Facsimile from 1705 edition (4e) of Playford's Division Violin (second part), Royal College of Music, London
- Cello Suite No. 3 in C major, BWV 1009Johann Sebastian Bach
- Bach Gesellschaft
- Thirty Caprices, No. 1Ernesto Cavallini
- Carl Fisher, 1909
- String Quartet No. 4 in C minor, Op. 18 No. 4, I. Allegro ma non tantoLudwig van Beethoven
- Breitkopf and Hartel (1862-1865)
- Partita in A minor, BWV 1013 (alto saxophone)Johann Sebastian Bach
- IMSLP
Engraved by the Mutopia Project. mutopiaproject.org (opens in a new tab)
Two sides of the same music stand.
The player is the same for both of you. What differs is what the week looks like around it.
For teachers
- Assignments that carry the actual exercises, not just a title
- Practice you can see only because the student accepted the invitation
- Your own library, with four levels of sharing on every file
See how teaching works
For students
- The score is right there, ready to loop and slow down
- Time spent in the player counts itself, in whole minutes
- An invitation shows your teacher nothing until you accept it
See what you get
Start with one piece.
Free, with no billing system to graduate into. Bring a student, or bring yourself.