Going Behind Bars with author Elaine Gould

A major new book on the art and practice of music notation written by publisher Faber’s chief new music editor, Elaine Gould, is published today. Called Behind Bars: The definitive guide to music notation, it aims to be a practical reference book for composers, arrangers and copyists, to help ensure that what they write on […]

Tom Rudolph and Vince Leonard on their new Sibelius book

Hal Leonard is about to publish a second edition of Tom Rudolph and Vince Leonard’s book, Sibelius: A Comprehensive Guide to Sibelius Music Notation Software, which has been thoroughly updated and revised. The first edition of the book covered Sibelius 4, and as you would expect the new edition now includes lots of information about […]

Students start music publishing business using Sibelius

A group of students in the Music Business programme at Indiana State University have started a music publishing business to publish a teaching method for five-string banjo by Louie Popejoy, a well-known local musician. They’ve been using Sibelius to create the notation for the book, and were profiled by the local newspaper, the Tribune Star. […]

Sibelius 6: it’s pretty and it’s easy

A few years ago, I engaged in some lively debate with a composer called Jeffery Cotton, who attempted to make the switch from Finale to Sibelius, but found that Sibelius at the time (which was when Sibelius 3 was the current version) didn’t offer the flexibility he required. The upshot of this debate was his […]

Check out the new SibeliusMusic.com

After many months of hard work by my colleagues Dan Atrill, Richard Payne and John Barron, the redesigned SibeliusMusic.com has gone live today. SibeliusMusic.com is the community site for Sibelius users to share their compositions online using the free Scorch web browser plug-in (which works in all popular browsers on Windows and Mac). Users can […]

How to promote your own music in the Internet age

This post from Florida newspaperman and Sibelius user Greg Stepanich got me thinking. He says: Most composers today who want to be heard have to do everything themselves, founding their own companies, setting up their own distribution networks. The old days of the publisher and his representative have retreated in the face of changes in […]