Musique Digital · the delivery side of the suite
Every player’s own part, on the device already in their hand.
Assign a title to an ensemble. Each player opens the part written for them. No folder to lose, no copier, no paper at all.
Early access · being built in the open
Delivery is early access. It is not generally available. Nothing here is running in a school today. The roster and consent substrate underneath is built and running. The free score catalog is live and printable today.
The music library is the last paper system in the building
Grades moved online. Attendance moved online. Permission slips moved online. The music cabinet did not.
A director still counts a stack, staples it, and hands it down a row. Twelve parts come back. Four do not. The second clarinet left hers in a locker over spring break.
So the copier runs again. It runs the week of the concert, when there is no time for it. That cost is real, and it lands on one person.
Meanwhile the shared drive fills with folders named after a title and a year. Nobody can find the third trumpet part from two seasons ago. It exists. It is just gone.
Musique Digital is built for that problem and no other. It is a library and a handout, not a notation program.
What Musique Digital is, and what is actually built
Six things, marked honestly. Two are running today. Four are being built.
A library your program keeps
Every title lives in one place, by season and by ensemble. It stays after the concert, not in a box.
Early accessAn assignment, not a broadcast
A title goes to an ensemble. The roster decides which player sees which part. Nobody sorts a stack.
Early accessA part, not a full score
A student opens their own line. Directors and section leaders can open the full score instead.
Early accessRosters and consent underneath
Sections, seats, and the consent record are real running infrastructure. This product would read from them.
Shipped substrateA free public-domain catalog
Scores engraved from verified public-domain sources, on our own infrastructure. Free to read and print, today.
ShippedYour own licensed music, stored
A file your program licensed stays your file, under your license. We hold it and hand it back.
Early accessA card marked Shipped names something that exists and works right now. A card marked Early access names something we are building. We would rather label it than blur it.
How a title gets from the cabinet to the stand
Five steps. The first two are how the platform already works. The last three are the early-access part.
- The ensemble already exists. Your marching band, your top choir, your string orchestra. Each is a roster with sections and seats. That is running infrastructure today, not something you rebuild here.
- Consent is already on file. The platform holds each family’s consent record. It governs what may be shown and shared. Delivery reads that record rather than keeping a second one.
- You add a title. Pull it from the free public-domain catalog, or upload the file your program licensed. Both land in the same library, tagged by season.
- You assign it. Pick the ensemble. Every player is matched to the part for their instrument and chair. No stack, no sorting, no hand-off in the hallway.
- Players open it. A phone, a tablet, a school laptop, or a printout. The part is theirs until you retire the title.
Steps three through five are early access. They are not generally available and no school is running them today.
Parts, not stacks: the whole point of the thing
Most digital sheet music is a PDF of the full score. That is a scan of the old problem, not a fix for it.
A second trombone does not want forty pages. She wants her line, at a size she can read, in the order she plays it.
So the unit here is the part, not the book. A title carries a set of parts. An assignment matches a part to a player by instrument and chair.
That matching comes from the roster, which the platform already maintains. You are not typing names into a music app. The section list is the one your school already keeps.
When a player moves chairs, the assignment follows. When a new student joins in November, they get the part on day one.
A director sees the full score. A section leader can be given the full score too. That is a permission, not a separate product.
Everything in this section is early access. The roster and section data it reads from is real and running.
Practice audio that travels with the part
A part on a screen is still just a part. What helps a fourteen-year-old is hearing it.
A reference recording beside the part
Hear the piece while looking at your line. For public-domain titles we can host the audio ourselves.
Early accessSlow it down without changing the key
A hard passage at sixty percent speed is still in tune. Bring it back up as it settles.
Early accessLoop the eight bars that hurt
Mark a passage and repeat it. That is how the practice actually happens at a kitchen table.
Early accessA click that follows the score
The tempo map comes from the piece, including changes. No guessing at a meter shift.
Early accessPractice stays with the student
What a student practices is theirs. It is never public, never sold, never a leaderboard.
Early accessNo machine judges the playing
We do not score a student’s performance, grade it, or build a profile from it. That line is firm.
Early accessAll six are early access. None is available today. The last two are standing product rules, not missing features. We will not build performance scoring or a public practice ranking.
Whatever the student already carries, plus paper when you want it
A music program does not get to pick its hardware. Some students have a phone. Some have a school laptop. Some have neither at home.
So a part opens in a browser, on a small screen, or on paper. Those are three ways to read one file, not three products.
Offline matters more here than in most school software. A bus to a festival has no signal. A practice room in a basement has none either.
The plan is that an assigned part stays readable once it has been opened. It should not need a connection to turn a page.
And paper never stops being allowed. A director who wants a printed folder for a concert should print one. Digital delivery is meant to end the reprint, not the printout.
There is no app store requirement and no install in the plan. A school that cannot install software can still use a link.
Offline reading, print-on-request, and the small-screen layout are early access. None is available today.
Reading it: sizing, transposition, and quiet accommodations
Paper cannot resize. A screen can. That is the plainest advantage digital delivery has.
Large print without a photocopier
A student who needs bigger notation changes a size. Nobody enlarges a page at 141 percent again.
Early accessTransposed parts, done right
A B-flat player reads a B-flat part. Transposition belongs in the library, not in a student’s head.
Early accessHigh contrast for low vision
Heavier rules and a stronger ink option. The staff should stay legible in a dim pit.
Early accessKeyboard and screen reader
Navigating the library never requires a mouse. Titles and assignments carry real text labels.
Early accessNothing announced to the room
An accommodation is set quietly. No badge, no banner, no note visible to other students.
Early accessPrint the accommodation too
A large-print part should print as a large-print part. The paper copy matches the screen.
Early accessWhat is already real underneath this
This page is careful about what it claims. Here is the part that is not a plan.
The school platform this belongs to runs real rosters. Students, sections, seats, and enrollment are live data, maintained by the school.
It also runs a consent substrate. Each family’s consent record sits in the database, and privacy walls are enforced there rather than in the app.
That matters for a music library. Handing a part to the right player is a roster question first and a music question second.
It also means we do not ask you to retype your band into a new system. The ensemble already exists in the platform.
What is not yet real is everything above that line. The library, the assignment, the part view, the audio. Those are what early access means here.
We name the boundary because it is the honest thing to do. A shipped substrate is not a shipped product.
The free catalog: real scores, published today
One part of this is not a plan at all. A catalog of scores is already published, free to read and free to print.
Every title in it is engraved from verified public-domain sources, on our own infrastructure. It is not a copy of any copyrighted edition.
Provenance is shown in plain sight. If a title came from a public-domain source, that source is named on the title.
The catalog is free on purpose. A school should not pay to play music that belongs to everyone. That is the whole argument.
You can use it right now, without any of the delivery product. Download a score, print a set, run a rehearsal.
When delivery opens, these titles are the ones you can assign on day one. No license to clear, no permission to chase.
Your licensed music stays yours, and stays your license
Most of a real program is not public domain. It is music your school bought, rented, or licensed for a season.
We do not sell you that music. We do not convert it, resell it, or hand it to another school.
The plan is plainer than that. Your file, under your license, stored in your library, handed back to your players.
What a license permits is between your program and the publisher. We do not read the terms for you or promise they allow digital parts.
So the honest posture is a storage and delivery role, not a rights clearing house. We will not claim otherwise.
If a license ends, the material should leave with it. Retiring a title should retire every assigned copy of it.
Storing and assigning a school’s own licensed file is early access. Confirming that a specific license permits digital distribution is the school’s call, not ours.
Against the copier and the shared drive
The incumbent in most music programs is not software. It is a copier, a filing cabinet, and a folder on a drive. That is what has to be beaten.
| Situation | Paper and a shared drive | Musique Digital |
|---|---|---|
| Getting a part to a player | Count a stack, staple it, walk the row. Repeat for every section. | Assign the title once. The roster matches each player to their own part. |
| A part goes missing | Run the copier again, usually the week of the concert. | The student reopens it. Nothing is reprinted and nothing is lost. |
| A student joins in November | Find the master, copy it, hope the set is still complete. | They are on the roster, so the part is waiting. |
| Last season’s third trumpet part | Somewhere on a shared drive, in a folder named after a year. | In the library, filed by title and season, still assignable. |
| A student who needs large print | Enlarge on the copier and hand it over in front of the room. | Set a size on their part. Nobody else sees the setting. |
| Practice at home | The part, and whatever recording the student can find. | The part with reference audio, slow-down, and looping beside it. |
| Who is allowed to see what | Whoever the folder was shared with, forever. | Read from the school consent record, which the family can change. |
| What it costs to run | Paper, toner, staples, and the director’s evening. | Early access. No price is published and no card is charged. |
We are not comparing against a named product here on purpose. Most programs are not switching from a competitor. They are switching from paper.
Students are minors, and this is built that way
A music library holds children’s names, sections, and eventually their practice. That deserves a plain statement, not a policy link.
A student’s part is theirs. Their practice history is theirs. Neither is public, neither is indexed, and neither is sold.
There is no public directory of players here. No page lists who is in which section or who plays which chair.
If a student recording is ever involved, it is consent-gated at the database. That matches every other kind of student media on the platform.
Consent can be withdrawn. The school stays the controller of its students’ data, and we do not become a second owner of it.
We also do not build a profile of how a child practices. No scoring, no ranking, no report sold to anyone.
There is no advertising on any student-facing surface. There never will be.
Honest on the money: nothing is for sale here yet
There is no price on this page because there is no product to price. That is the honest reason.
No plan, no tier, no per-student figure, no trial. No card is charged and no checkout exists.
Asking about early access records an interest. It does not reserve a seat, start a subscription, or promise a date.
We publish no response time. Inventing one would be the easiest false claim on the page.
The free public-domain catalog is a different matter. It is free now and it is not a lead magnet for a paid tier.
When there is something to charge for, we will say what it costs in plain numbers. Until then, this section stays as it is.
Where the build actually is
Three lines, so nobody has to read between them.
Running today. The roster and consent substrate. The free public-domain catalog, published and printable.
Being built. The library, the assignment, the per-player part view, the practice audio, the offline copy.
Not started and not promised. A published price, a delivery date, a mobile app, and any claim of a school using this.
The suite this belongs to is also in active development. We are not shipping the delivery half of an unshipped whole.
Delivery is early access. It is not generally available. Nothing here is running in a school today.
Common questions, answered short
Where the answer is no, it says no.
Can I use this with my band tomorrow?
No. Delivery is early access and not generally available. You can use the free public-domain catalog today, on paper or on a screen.
Is this a notation program?
No. Writing and recording music lives at musique.software. This is the library and the handout. Different job, same family.
Do students need a specific device?
No. The plan is a browser on a phone, a tablet, or a school laptop. Printing stays available for students without a device.
What about a bus with no signal?
Offline reading is part of the plan and part of the early-access work. An opened part should stay readable without a connection.
Can I upload the music my program licensed?
That is the plan. Your file stays yours, under your license. We store it and hand it back to your players.
Does my license allow digital parts?
We cannot answer that for you. Terms differ by publisher and by title. That call belongs to your program, not to us.
Where does the free catalog come from?
It is engraved from verified public-domain sources, on our own infrastructure. It is not a copy of any copyrighted edition.
Does any of this use AI?
No. No AI arrangement, no AI transcription, no generative audio, and no machine grading of a student’s playing.
Will you score how well a student plays?
No. That is a standing product rule, not a missing feature. We will not build performance scoring or a practice leaderboard.
Who can see a student’s part?
The student and the director. There is no public list of players, sections, or chairs anywhere on this product.
What does it cost?
Nothing is for sale yet. No price, no plan, no card. The free public-domain catalog is free and stays free.
Do I have to move my roster into this?
No. The ensemble already lives in the school platform. Delivery reads that roster instead of asking for a second one.
What happens when a title is retired?
Retiring a title should retire every assigned copy of it. That is how a license ending is meant to work.
Is there an app to install?
None is planned. A school that cannot install software should still be able to use a link.
The rest of the family
Each is its own product with its own page. None of them is this one.
What this page claims, and what it does not
It claims that the roster and consent substrate is built and running. It is.
It claims that a free catalog of scores is published today. Those scores are engraved from verified public-domain sources, on our own infrastructure.
It does not claim that the delivery product works, ships, or is in use anywhere. It is early access.
It does not claim any AI capability, any performance scoring, or any automatic grading of a student.
It does not claim a price, a plan, a delivery date, or a response time. None of those exists.
It does not claim rights we do not hold. Your licensed music stays under your license, and we read no terms for you.
If any line here stops being true, the line changes. That is the standard we hold this page to.