Write together
A score is a room. Bring the band.
Open the score and the others are already in it. Their carets move along the staff with their names attached. Edits land the moment they happen. Nobody saves, nobody emails a file, and nobody ever opens arrangement-final-FINAL-v3 again.
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See who is on which bar
Everyone in the score shows up in the toolbar. Their carets and selections show up on the music, labelled, so you know your bass player is halfway through bar twelve before you touch it.
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Argue about bar two, on bar two
Start a thread anchored to the bars it is about. Reply to it, attach a recording of how you would play the phrase, and resolve it when the band settles. The comment moves with the music it points at.
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Nothing is ever overwritten
Name a version before you gut the bridge. Every score keeps its history with the date and the person on each entry, and restoring an old one writes a new one, so the take you rolled back from is still sitting there.
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You decide who gets in
Only the people on the project, or anyone with the link, or anyone on the web. Set it per score, and change your mind whenever you like.
Play it in
Your hands already know the part.
Plug a keyboard, a pad controller or a MIDI guitar into the browser. Hemiola listens, and the notation follows. Not a piano roll you clean up afterwards: notes, on a staff, spelled the way the key wants them.
Getting it in
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Step it in
Hold a chord and it lands as a chord. The spelling follows the key in force, so sharps come out sharp and flats come out flat, and a transposing part is written where the player reads it. Hit a pad and it lands as a hit on the kit's own map.
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Record to the click
Count in, or let your first note start the transport. Play the passage. The take stages as rows you read before anything touches the score, so you accept it, take it again, or bin it. Accepting is one undo step for the whole thing.
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No click? Tap the beat.
Set the beat to come from your taps, count yourself in, and play free. The first tap opens the take, a six-eight bar counts in dotted quarters, and a tap you drop gets filled in and told to you.
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Keep what you just played
The last three minutes are still in memory whether you armed anything or not. Play something good by accident, ask for it back, and it stages from the bar your caret is on.
What it hears
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How hard, how short, how swung
Velocity becomes the dynamic mark, written where the level changes rather than on every note. A note you cut short becomes a staccato. A take you played with a swing gets straightened onto the grid and marked "Swing" so the feel survives the transcription.
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Two hands, two staves
Set a split point and the notes underneath it go to the lower staff. Beats stay visible: a note that runs across one is split and tied there, so the bar reads the way a player counts it.
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Guitar players, it reads your fingers
Bends, slides, hammer-ons and pull-offs come off the performance itself. The string you played on becomes the string on the tab. Latency is measured per device, and per string on a MIDI guitar, so a low E lands on the beat with the high E.
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Takes stay with the score
Every take you accept is kept alongside the music. Play one back exactly as you performed it, re-fit it under different settings without playing it again, or delete it. Your band can hear it too.
And when you want to be told the truth
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Practice mode listens back
Play along with the score and every note is judged as you go: in time, close, early, late, wrong note, missed, and by how many milliseconds. A pass ends with a percentage, a medal and your longest clean run.
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It waits for you, then pushes you
Ask the score to wait and the cursor holds until you actually play the note. Turn on the step-up and three clean passes in a row raise the speed. Passes are kept, so you can watch the number move.
See it
Five frames from the build.
Real screens, not drawings. Drag or scroll sideways for the rest, and click any one to see it full size.
The rest of the desk
Everything between the idea and the audience.
The unglamorous half, and it all works today.
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Engraved while you type
Notes, chords, dynamics, articulations, slurs and ties, repeats, time and key signatures, lyrics, two voices to a staff, and a tablature staff linked to the notation. It sets on a real page as you go, not when you ask for a preview.
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Bring what you already have
Open a Guitar Pro or MusicXML file and pick up where the last tool left off. The importer tells you what it could not carry rather than quietly dropping it.
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Hear the whole band
Play the score you are looking at. Mute, solo, pan and set the level on every part. Move the tempo while it runs, and arm a metronome with a count-in.
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Loop the bar you cannot get
Select the bars, slow them down, and go round until they are yours. Rehearsal mode clears the panes away and leaves the music on the stand at the size you want it.
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Publish it
A published score gets a page of its own: the title, the composer, the arranger, the instruments, and whatever you wrote about it. Send the link. Nobody needs an account to read it.
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Take it with you
Send a score back out as MusicXML, as MIDI, or as a PDF you can print and put on a stand.
- MusicXML in & out
- Guitar Pro in
- MIDI out
- PDF out
Coming soon — hemiola.io
We are in the home stretch.
hello (at) hemiola.io
Questions, bands, teachers, press, anything. We will answer, and we will not sell your email address.