Read about the interesting individuals in our field — from the developers to the creators — and what they have to say about where we’ve been and where we’re headed.
Whether you give it a fleeting glance or you’ve eagerly read every last word, documentation is a vital component of music notation software. Lillie Harris, Dorico’s documentation writer, discusses its significance and her personal approach to the task.
You might know Bob Zawalich’s work from using any of his hundreds of Sibelius plug-ins, or from his Scoring Notes blog posts, or even from hearing about him on this podcast. But do you know the man behind the code?
If you’ve ever needed to open a music notation file in a different program, you’ve relied on MusicXML to do it. Michael Good invented this now-ubiquitous established format two decades ago, and we find out how it happened.
Millions of people sing from church hymnals each week — and that means they’re reading music notation. Dan Kreider is an expert in achieving harmony by marrying sacred music with sublime technology.
Nicole Jordan, the principal librarian of the Philadelphia Orchestra, makes sure that the right piece of music is with the right person at the right time — and music notation software was crucial in helping her nail the biggest audition of her career.
Stephen Taylor talks all about his adventure entering Stravinsky’s The Rite of Spring, along with other masterworks, into Dorico, as well as his journeys with Finale and Sibelius, and how copying scores into those programs can be an effective way of learning both the music and the technology.
Guitarist and composer Doug Gibson shares his transcription and notation process, gives us his opinions on what the various software platforms get right, and tells us his wishes for improvements when it comes to working with guitar music.
Jason Loffredo discusses preparing music for the world of musical theatre and his Conquering Finale video tutorial series, which can help you better master that sophisticated software, whether you’re a new or long-time user.
Emily Grishman, acclaimed Broadway copyist, talks about the world of music theatre copying, the process of getting the music from the composer’s pen to the player’s stands, and the tools she uses to achieve superior results. (Originally aired: June 12, 2020)
Daniel Spreadbury returns to Scoring Notes to talk about the common set of font specifications known as the Standard Music Font Layout, or SMuFL. We get into the history of music fonts and how we got to where we are today with this essential component of music notation software technology.