For decades, Emily Grishman has been one of Broadway’s most sought-after copyists, and her list of credits includes the most acclaimed music and theatrical productions. We talk about her career and how the means and manner of producing music has changed along with advancements in the music notation software she uses every day. Come along with us as we learn what Emily has to say about the world of music 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.
Plus: the secret to being an expert in your music notation software of choice, everything you ever wanted to know about bar numbering schemes… and what not to do when working on a horror film score.
Further reading: Emily Grishman on Maestra Music
Photo credit: Jamie Maletz
Thank you Philip and Emily. I loved the discussion. It’s nice to hear some very specific talk about the very specialized field of copying, and hear you talk about Good COPiest Bad COPiest.
I have used Finale for 25 years, and I will be starting in the upper left-hand corner and read every menu item like you said.
Great stuff! So interesting.
Thanks for all the effort…
Great episode, Philip & Emily.
One topic that she mentions very quickly, that could be a nice article here at Scoring Notes, is how she thinks differently when preparing parts for iPad. In these cases I usually increase the staff size to 7.5 or even 8mm (0.31 inches) but I haven’t thought in reducing margins as you suggested. Makes sense.
Great listen!
I’d love to hear about any page-turn nightmares Emily has encountered!