In the course of preparing a new edition of Copland’s Three Latin American Sketches, here are three improvements that should not be overlooked when preparing a new edition, aside from the improvement in readability that an engraved part will bring. Also: Remembering Vivian Perlis, 1928-2019.
It’s common to have a conductor’s score with winds and brass on shared staves, and individual parts for players. Although Dorico does not yet offer an automatic solution to creating both, it is relatively easy to achieve satisfactory results using its powerful layout features.
Steinberg has released Dorico 2.2.10. We explore what’s new in this update, which introduces improvements across all areas of the program and addresses a number of bug fixes as well, making it a solid iteration of the program and a worthwhile update to the massive 2.2 release.
A video review of our favorite features in Sibelius since version 8.0 was released in 2015. If you haven’t yet updated from 7.5 (or earlier), or even if you have, you’ll appreciate knowing what’s included.
An essential element of Sibelius’s dynamic parts feature is the ability to make certain changes in a part without affecting the score. This extends to the ability to have different names for instruments in parts than what they are in the score. This useful feature has its intricacies and comes with a few caveats, so we’ll explain what those are and how to make the most of the available options.
In this post, from the floor of the 2018 MOLA conference, we talk with Steve Reading from Scores Reformed, a publisher that produces new editions of out-of-copyright works.
Originally appearing as a document that composer David MacDonald created for his weekly master class, this bullet-list of score preparation and production notes will improve the quality of your performance materials in no time. To it we have added relevant links from Scoring Notes and other sources.
Avid today released the Sibelius 8.7.2 maintenance update, improving a long-standing issue involving instrument changes, key signatures and multirests, among other fixes.
I often receive inquiries wondering if 9” x 12” paper was acceptable for orchestral use, or if 10” x 13” is necessary. Here are my thoughts based on experience preparing music for hundreds of orchestral projects.
Ever since Sibelius 4 introduced Dynamic Parts feature in 2005, and Finale 2007 followed in due course with Linked Parts a year later, I’ve hardly ever needed to extract parts from a Finale or Sibelius file — and you shouldn’t have to, either.