Barry first found music when he borrowed his sister's record collection when he was about eight and was hooked. When Caroline started it was a new beginning, and he listened to all the stations, but Caroline was his favourite by far. Later he became a singer in a band, then started doing discos when he was 18. He joined Caroline in 1977, touring the country with the Caroline Roadshow for 10 years, having great fun. Barry helped with tender trips and worked on the Ross Revenge in '84 and '85. ...
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<div class="span index">1</div> <span><a class="" data-remote="true" data-type="html" href="/series/via-podcast-3642589">Via Podcast</a></span>
Whether you’re just beginning to explore the Western United States or you’ve been living here since the day you were born, the Via Podcast will introduce you to new and unique adventures that will change your perspective. Hosts Mitti Hicks and Michelle Donati bring their travel expertise to interviews with some of the West’s most fascinating experts, residents, and adventurers. In each episode, you will discover deep conversations in the hopes of igniting a new interest—foraging anyone?—or planting the seeds of a new-to-you road trip. You might even learn something about a place you’ve explored dozens of times before.
Print perfect (encore); MOLA 2024 preview
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Content provided by Scoring Notes. All podcast content including episodes, graphics, and podcast descriptions are uploaded and provided directly by Scoring Notes or their podcast platform partner. If you believe someone is using your copyrighted work without your permission, you can follow the process outlined here https://player.fm/legal.
Printing music is something that takes skill and attention to detail — both by the music preparer and the printer. When everything’s communicated well, it leads to print shop nirvana and the ideal result for everyone involved.
Philip Rothman and David MacDonald talk through a specific project and illustrate the various steps along the way to set it up for success. No detail is too small, from the page size, to the number of copies, to the shipping methods desired. Philip relays his tips and best practices from the perspective of a professional music printing service.
Then, David gives advice for how to ensure good results if you need to take your project to a more general-service copy shop, or even if you are printing yourself, like some inventive ways to format the page size and convey the instructions to minimize the risk of errors that can be introduced and avoid miscommunication in what is one of the last, most critical steps in preparing a piece of music.
Also: A preview of the 2024 MOLA Conference and Tech Fair.
More on Scoring Notes and elsewhere:
- Chronology of a perfect music printing job
- Creating PDFs from Sibelius 7
- Export File Names Dialog in Dorico
- Name Mangler and Moom productivity apps
- On the margins: Headers, footers, and footnotes in Sibelius
- Smarter title pages for parts in Sibelius
- Smarter title pages for parts in Finale
- Working with master pages in Dorico, part 2
- How to fix a common page numbering problem in Sibelius
- PDF-MusicBinder and PDF-BatchStitch utilities for music printing
150 episodes
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Manage episode 416388981 series 2773523
Content provided by Scoring Notes. All podcast content including episodes, graphics, and podcast descriptions are uploaded and provided directly by Scoring Notes or their podcast platform partner. If you believe someone is using your copyrighted work without your permission, you can follow the process outlined here https://player.fm/legal.
Printing music is something that takes skill and attention to detail — both by the music preparer and the printer. When everything’s communicated well, it leads to print shop nirvana and the ideal result for everyone involved.
Philip Rothman and David MacDonald talk through a specific project and illustrate the various steps along the way to set it up for success. No detail is too small, from the page size, to the number of copies, to the shipping methods desired. Philip relays his tips and best practices from the perspective of a professional music printing service.
Then, David gives advice for how to ensure good results if you need to take your project to a more general-service copy shop, or even if you are printing yourself, like some inventive ways to format the page size and convey the instructions to minimize the risk of errors that can be introduced and avoid miscommunication in what is one of the last, most critical steps in preparing a piece of music.
Also: A preview of the 2024 MOLA Conference and Tech Fair.
More on Scoring Notes and elsewhere:
- Chronology of a perfect music printing job
- Creating PDFs from Sibelius 7
- Export File Names Dialog in Dorico
- Name Mangler and Moom productivity apps
- On the margins: Headers, footers, and footnotes in Sibelius
- Smarter title pages for parts in Sibelius
- Smarter title pages for parts in Finale
- Working with master pages in Dorico, part 2
- How to fix a common page numbering problem in Sibelius
- PDF-MusicBinder and PDF-BatchStitch utilities for music printing
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Hosted by The University of Michigan School of Music, Theatre & Dance in Ann Arbor, Michigan, the 43rd annual conference of MOLA: An Association of Performance Librarians ran from May 30 through June 2, 2025, and brought together music librarians, publishers, vendors, composers, performers, and technology enthusiasts. The 2025 conference was the first one hosted by a university, reflecting the organization’s broader membership. It spotlighted the working environments of the academic performance librarian and offered opportunities to cross-pollinate ideas across ensemble tiers and types. On the podcast, David MacDonald and Philip Rothman recap the 2025 MOLA Conference recorded in person from the University of Michigan, with a summary of the tech fair and conference sessions on broadening access, copyright, professional development, IMSLP, and much more. And, if you like your podcasts in video format, we have a special treat for you: A video of this podcast episode, recorded live . More from Scoring Notes: Road report: MOLA 2025 Conference…
1 Daniel Spreadbury on Dorico 6: “Our largest release to date” 1:19:18
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Play Later Play Later Lists Like LikedSteinberg’s product marketing manager Daniel Spreadbury returns to the podcast to discuss Dorico 6 and its bevy of features for music composers and preparers. Daniel talks in-depth with Philip Rothman and David MacDonald about a few of the headline items, especially those that are unique to Dorico. The new proofreading tool continuously scans a project looking for potential pitfalls, and the cutaway scores feature makes quick work of what was once a tedious effort. We explore those key elements of Dorico 6 along with cycle playback, grids, fill view, chord symbols, and more, learning more about their origins and what’s planned for the future. We also reflect with Daniel about the software’s trajectory in the past decade. Dorico has gotten ever more capable in the audio area in recent years, more deeply integrated with Cubase, Steinberg’s digital audio workstation, and Daniel takes us behind the scenes to tell us about the decisions and development plans in those areas. Finale’s end has also brought challenges and opportunities for the Dorico team, and we discuss how Steinberg’s partnership with MakeMusic and its endorsed path to Dorico has influenced the product’s direction over the past year. More from Scoring Notes: Dorico 6 review: Proof positive…
1 Tune Tech: Distortion, sequencers, Auto-Tune, and more 39:15
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Play Later Play Later Lists Like LikedWe’re very pleased to bring you this episode, and more to come in the future, thanks to our friends at Twenty Thousand Hertz , a podcast that tells the stories behind the world’s most recognizable and interesting sounds. From electric guitars to samplers to drum machines and beyond, the music we love is only possible thanks to the technology used to create it. In many ways, the history of popular music is really a history of technological innovation. In this episode, Twenty Thousand Hertz partnered with BandLab to unpack four inventions that changed music forever. Featuring author and journalist Greg Milner . Music featured in this episode: Original music by Wesley Slover Prelude by Ghostnaut To Little, With Love by Elvin Vanguard And All the Rest by Dream Cave Subtractions by Epocha To Find You (with KYAND) by Modera Out Linear by Sweet Stare Grumpalo by High Horse Grand Theft by Katori Walker One Day by Ten Towers Hopscotch Bop by Stan Forebee I Feel You by Yuppycult Swing Step by iamalex Here With You by Super Duper Twenty Thousand Hertz is produced out of the studios of Defacto Sound, and hosted by D allas Taylor .…
1 Holding court with Brian McBrearty, forensic musicologist 54:00
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Play Later Play Later Lists Like LikedIf you hear the term “forensic musicologist” and conjure up detectives with fingerprint dusters and a magnifying glass, well, metaphorically you’re not far off. The job of a forensic musicologist is to apply musical knowledge to questions around copyright, explain musical facts, and put them into context so that a court can arrive at a decision with the best information available. Brian McBrearty is a forensic musicologist, and he joins Philip Rothman and David MacDonald to discuss real-world cases of music infringement and the multi-dimensional approach that he takes in his analyses. We tackle the question of music notation and how it plays a role in Brian’s process, and talk tech — including the acceleration in artificial intelligence, both as a potential means of forensic analysis, and as a creator of potentially infringing content. More on Scoring Notes: The rights stuff, with Jim Kendrick…
At the 2025 NAMM Show, we interviewed representatives from the businesses in our field of music notation software and related technology. This podcast episode is a conversation Philip Rothman had with John Barron, the international product specialist for Dorico. NAMM offers representatives like John the opportunity to meet with customers from both the notation and audio sides of the music community. We spoke about the new Dorico-powered score editor in Cubase that appeals to a large cross-section of users, and how Dorico fits into the wider world of Steinberg and Yamaha products. We also discussed industry developments and what he’s hearing from Finale users as they explore the officially-endorsed migration path to Dorico. Be sure to check out our other conversations from the NAMM Show from earlier this month. And as always, if you like this podcast episode, there’s plenty more for you from Scoring Notes — be sure to follow us right in your podcast player. More about the 2025 NAMM Show from Scoring Notes: NAMM 2025: On the scene NAMM 2025: Decondensing Sibelius with Avid’s Sam Butler NAMM 2025: Imbibing transcribing with Oriol López Calle NAMM 2025: Musing on software and design with Martin Keary NAMM 2025: On with the show with Steinberg’s John Barron NAMM 2025: An interview with Avid’s Sam Butler NAMM 2025: An interview with Oriol López Calle NAMM 2025: An interview with Martin Keary…
At the 2025 NAMM Show, we interviewed representatives from the businesses in our field of music notation software and related technology. This podcast episode is a conversation Philip Rothman had with Martin Keary, the head of software for Muse Group. Martin spoke with me about the conversations he had at NAMM about some of the exciting possibilities for MuseScore collaborations and integrations with other app makers in the future. More practically, we also discussed recent MuseScore development efforts and some of the new features we can expect to see in upcoming releases, as well as the role that industry changes like the end of Finale played in the road map for the software. Come back next week for more conversations from the NAMM Show. And as always, if you like this podcast episode, there’s plenty more for you from Scoring Notes — be sure to follow us right in your podcast player. More about the 2025 NAMM Show from Scoring Notes: NAMM 2025: On the scene NAMM 2025: Decondensing Sibelius with Avid’s Sam Butler NAMM 2025: Imbibing transcribing with Oriol López Calle NAMM 2025: Musing on software and design with Martin Keary NAMM 2025: On with the show with Steinberg’s John Barron NAMM 2025: An interview with Avid’s Sam Butler NAMM 2025: An interview with Oriol López Calle…
1 NAMM 2025: An interview with Oriol López Calle 32:30
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Play Later Play Later Lists Like LikedAt the 2025 NAMM Show, we interviewed representatives from the businesses in our field of music notation software and related technology. This podcast episode is a conversation Philip Rothman had with Oriol López Calle from My Sheet Music Transcriptions, a service that he founded in 2011 that has since grown to employ dozens of people and serve tens of thousands of customers. Oriol told us about his company’s approach to their work, which includes not only transcribing but a full range of music preparation tasks. We also discussed technological innovations that have already transformed the business and those that we expect to do so in the future. Come back the next couple of weeks for more conversations from the NAMM Show. And as always, if you like this podcast episode, there’s plenty more for you from Scoring Notes — be sure to follow us right in your podcast player. More about the 2025 NAMM Show from Scoring Notes: NAMM 2025: On the scene NAMM 2025: Decondensing Sibelius with Avid’s Sam Butler NAMM 2025: Imbibing transcribing with Oriol López Calle NAMM 2025: Musing on software and design with Martin Keary NAMM 2025: On with the show with Steinberg’s John Barron NAMM 2025: An interview with Avid’s Sam Butler…
1 NAMM 2025: An interview with Avid’s Sam Butler 25:55
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Play Later Play Later Lists Like LikedAt the 2025 NAMM Show, we interviewed representatives from the businesses in our field of music notation software and related technology. This podcast episode is a conversation Philip Rothman had with Sam Butler, Avid’s director of product management. Sam talked with us about the new decondensing parts feature in Sibelius that Avid previewed at NAMM, and he celebrated the award that his team received for last year’s release of the Android app. He also shared his thoughts on the industry’s developments over the past year, the direction that he anticipates for the future, and what it all means for Sibelius customers. Come back the next few weeks for more conversations from the NAMM Show. And as always, if you like this podcast episode, there’s plenty more for you from Scoring Notes — be sure to follow us right in your podcast player. More about the 2025 NAMM Show from Scoring Notes: NAMM 2025: On the scene NAMM 2025: Decondensing Sibelius with Avid’s Sam Butler NAMM 2025: Imbibing transcribing with Oriol López Calle NAMM 2025: Musing on software and design with Martin Keary NAMM 2025: On with the show with Steinberg’s John Barron…
This episode was written by Andrew Anderson. We’re very pleased to bring you this episode, and more to come in the future, thanks to our friends at Twenty Thousand Hertz , a podcast that tells the stories behind the world’s most recognizable and interesting sounds. The history of recorded sound stretches back over a hundred and fifty years, starting with a device that could “record” a voice on a piece of paper. Today, we can enjoy lossless streaming anywhere we go… but getting here wasn’t easy. In this episode, our friends at Twenty Thousand Hertz worked with Qobuz , the high quality music platform, to chart the history of audio mediums, from cylinders made of tin foil and wax, to vinyl, 8-track, cassette, CDs, and mp3s. Along the way, they explore the innovations and quirks of each format, with memories sent in from their listeners and the 20K team. Featuring Adam Tovell from the British Library Sound Archive . Then, stay tuned afterwards as David MacDonald and Philip Rothman tie all of this “related technology” back to the “music notation” portion of the Scoring Notes mission, and explore how music notation and recorded sound are complementary sides of what makes a song a song. Further reading: What Is a Song? , by Ben Sisario from The New York Times , about the copyright questions raised in the lawsuit involving Marvin Gaye’s “Let’s Get It On” and Ed Sheeran’s song “Thinking Out Loud”. Further listening: The [COMPRESSED] history of mastering Music featured in this episode: Original music by Wesley Slover Steppin Intro by Sound of Picture Paraphrase on Sleeping Beauty by Paul Pabst Greylock by Skittle Lonely Summertime by The Rockin’ Berries Ding Dong by Niklas Gabrielsson Bebop Blues by Vendla Living Memories by Golden Age Radio Gin Boheme by Vermouth Forever in Love With a Ghost by PÄR You Oughta Know by Rockin’ For Decades Back in Time by They Fall Pink Gloves by J.F. Gloss Dreamweavers by Sven Lindvall & Daniel Fridell No One Knows But Me by Torii Wolf Tour 505 by Epocha Blipper by Sound of Picture October by UTAH Do You by KENA Twenty Thousand Hertz is produced out of the studios of Defacto Sound, and hosted by D allas Taylor . Art by Divya Tak .…
1 A snapshot of music scanning apps, and picturing the future 55:33
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Play Later Play Later Lists Like LikedMusic scanning technology, or optical music recognition (OMR) if you like, has been around for decades, and yet in many ways is still barely out of infancy. But that could soon change as classic algorithm-based desktop programs converge with newer mobile apps and web-based machine learning tools. Steve Morell joins Philip Rothman and David MacDonald to discuss his review of six of those products that run the gamut of those technologies: Newzik, Soundslice, PlayScore 2, Sheet Music Scanner, SmartScore 64 Pro 64 NE, and ScanScore Professional. He takes on through his process of testing each of them from the common perspective of a user wanting to get a quick and accurate scan for exporting via MusicXML to other software such as Sibelius, Dorico, or MuseScore. However, those applications have many other use cases. We explore those as well, and how each of the products may be suited to one particular use or another in their own way. We also envision where the industry is headed and how these technologies could potentially evolve in the future. Read the full Scoring Notes review: Scanning the current OMR landscape…
‘Tis the season to be thankful for all of the products and services in the world of music notation software and related technology, and for the Scoring Notes audience who tunes in to hear us opine on them! We show our appreciation by bearing good tidings in the form of a summary of all of the updates to MuseScore, Dorico, and Sibelius over the past year. Then, Philip Rothman and David MacDonald do a little shopping to find some Black Friday deals and make a few recommendations for fun and productivity. Black Friday 2024 deals for music notation software and related tech Show notes: Scoring Notes Product Guide , with links to posts about MuseScore, Dorico, and Sibelius updates from the past year Black Friday products and deals we mention: MakeMusic discounted crossgrade to Dorico Steinberg Cyber Deals Avid Black Friday Savings PDF Expert Black Friday deals Acon Digital Black Friday sale Muse Hub StaffPad on iPad and Windows Notation Central , Notation Express , Scoring Express , NorFonts Bambu Lab Black Friday Sale Studio Neat Mark pens Sidekick Notepad from Cortex Matthew Maslanka’s Beam Slants Reference Poster Henle engraving plate Samsung T7 SSD , T7 Shield SSD , T9 SSD Xkey 25 MIDI controller Nektar SE25 and Se49 MIDI controllers Logitech MX Keys S – Windows and MX Keys Mini – Windows Logitech MX Keys S – Mac and Logitech MX Keys Mini – Mac…
Music education isn’t just learning how to read alto clef and knowing your intervals anymore. The evolution of music technology education, the changing attitudes of students towards music production, and the importance of teaching foundational skills alongside technology have made the collegiate experience in music more diverse than ever. In this episode, Philip Rothman and David MacDonald engage with guest Ben Fuhrman, a composer and music tech professor at Montana State University. They explore the preparation and skills students bring to music tech programs, focusing on music notation software, DAWs like FL Studio, Pro Tools, and Ableton Live, and the influence of high-profile artists on student choices. Skills that may seem trivial like file management are actually very important, complementing the understanding of concepts in preparing students for diverse careers in music technology. We also touch upon the evolving nature of music careers, the necessity for students to have both technical and traditional musical knowledge, and the impact of collaborative learning environments in fostering empathy and curiosity in the rapidly changing landscape of music technology. More from Scoring Notes: Sample rate, bit depth, bit rate, and you(r ears) Katie Wardrobe on music tech in education [encore]…
Finale, the legendary music notation software program, has been discontinued 36 years after its groundbreaking release in 1988 from Coda Music Technologies. MakeMusic, the company that now owns Finale, has partnered with Steinberg to sell its Dorico application at a specially discounted price directly to Finale users. Jason Loffredo joins Philip Rothman and David MacDonald in a comprehensive discussion about the facts, the business analysis, and the way forward for customers. More on Scoring Notes: MakeMusic ends development and availability of Finale; partners with Steinberg to sell Dorico directly [updated] Finale version 27 review: SMuFL and MusicXML 4.0 support Finale v27 and the SMuFL shuffle Finale version 27.1: SMuFL burrows deeper Finale version 27.2 adds new jazz template, native Apple silicon support Finale version 27.3 adds eight powerful JW tools, fixes some linked part issues Finale version 27.4 supports macOS Sonoma, true black printing, other fixes Jason Loffredo’s “Conquering Finale” video tutorial series…
The 2024 conference of MOLA: An Association of Performance Librarians recently concluded in Cleveland, Ohio, and by all accounts it was a rocking success. The conference began with the second annual Tech Fair, a gathering of librarians, product specialists, and vendors, with demonstrations and exhibits bookended by panel discussions about technology as it relates to the performance librarian. The remainder of the four-day long conference featured plenary sessions, breakout groups, and lots of excellent spontaneous sharing of knowledge and experience about a crucial role in the music-making process. Philip Rothman and David MacDonald recap the conference with a podcast episode recorded in person from Cleveland, with a summary of the tech fair and the rest of the event: from the intricacies of percussion setup to licensing, copyright, and commissioning agreements, and much more. And, if you like your podcasts in video format, we have a special treat for you: A video of this podcast episode, recorded live . More from Scoring Notes: MOLA 2024: Cleveland rocked MOLA morsels: Conversations from the 2024 conference Videos from the MOLA 2024 Conference: MOLA 2024: Welcome! MOLA 2024: Putting Technology Into Practice in the Music Library MOLA 2024: Notion’s Chris Swaffer MOLA 2024: Avid’s Justin Tokke, product designer for Sibelius MOLA 2024: Steinberg’s John Barron, product specialist for Dorico MOLA 2024: The Cleveland Orchestra’s Michael Ferraguto MOLA 2024: Alastair McKean, MOLA President 2023-2024 MOLA 2024: Conference and Tech Fair Wrap-up…
Printing music is something that takes skill and attention to detail — both by the music preparer and the printer. When everything’s communicated well, it leads to print shop nirvana and the ideal result for everyone involved. Philip Rothman and David MacDonald talk through a specific project and illustrate the various steps along the way to set it up for success. No detail is too small, from the page size, to the number of copies, to the shipping methods desired. Philip relays his tips and best practices from the perspective of a professional music printing service. Then, David gives advice for how to ensure good results if you need to take your project to a more general-service copy shop, or even if you are printing yourself, like some inventive ways to format the page size and convey the instructions to minimize the risk of errors that can be introduced and avoid miscommunication in what is one of the last, most critical steps in preparing a piece of music. Also: A preview of the 2024 MOLA Conference and Tech Fair . More on Scoring Notes and elsewhere: Chronology of a perfect music printing job Creating PDFs from Sibelius 7 Export File Names Dialog in Dorico Name Mangler and Moom productivity apps On the margins: Headers, footers, and footnotes in Sibelius Smarter title pages for parts in Sibelius Smarter title pages for parts in Finale Working with master pages in Dorico, part 2 How to fix a common page numbering problem in Sibelius PDF-MusicBinder and PDF-BatchStitch utilities for music printing…
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With music notation work often intersecting in some capacity with music production and scoring to video, it’s important to know when your software of choice is the best option for a particular need within a project, and when it’s not. When it comes to fine-tuned formatting and engraving decisions, we can’t move from one notation software product to another without losing that important detail work. However, with the underlying composition itself, the information can be moved quite effectively with MusicXML or MIDI to and from to other software when a particular tool is needed elsewhere. Steve Morell joins Philip Rothman and David MacDonald to take a look at how video, tempo, and time are handled with the four most popular desktop music notation software options — Dorico, Finale, MuseScore, and Sibelius — and how they compare to the unique notation/DAW hybrid approach from the tablet app StaffPad, as well as other solutions available. More from Scoring Notes: Video, tempo, and time (oh my!)…
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1 An interview with Steinberg’s Daniel Spreadbury 1:13:26
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Play Later Play Later Lists Like LikedWe last visited with Steinberg’s product marketing manager Daniel Spreadbury on the podcast upon the release of Dorico 4 in January 2022, and more recently last summer in Berlin at the MOLA conference in a panel discussion with his colleagues and competitors in the music notation software industry. Although Dorico didn’t have much of a presence at the 2024 NAMM Show, we welcome the opportunity to visit with Daniel here in a similar manner that we did with many of those colleagues and competitors at NAMM. We start not by focusing on the latest Dorico features, although we do discuss those. Instead, we speak with Daniel about how the Dorico community influences product development, to what extent Steinberg prioritizes customer requests and specific features, and how they balance those with some of the more long-term vision that they may have for the product. He gives us a sense of Dorico’s role within these companies, from a strategic, philosophical, and technical perspective. We explore how much of what they’re doing is done with the other products and services in mind, how those decisions are made, and how Dorico users benefit. We also talk about industry changes and how those philosophies end up shaping what customers see on their screens and even what kind of music they create. If you didn’t hear our NAMM wrap-up episode, and interviews with NAMM CEO John Mlynczak, Avid’s Sam Butler, MakeMusic’s Jason Wick, and Muse Group’s Jack Sutton, check those out in the Scoring Notes podcast feed. More from Scoring Notes: Dorico 5 review: Moving the music forward Dorico 5.1: Filling the gaps Dorico 5.1.10 update is available Dorico 5.1.21 update is available NAMM 2024: An interview with Muse Group’s Jack Sutton NAMM 2024: An interview with MakeMusic’s Jason Wick NAMM 2024: An interview with Avid’s Sam Butler NAMM 2024: Wrap-up and interview with CEO John Mlynczak NAMM 2024: John Mlynczak on his first show as president and CEO NAMM 2024: Muse Group’s Jack Sutton on Hal Leonard, MuseScore development and more NAMM 2024: MakeMusic’s Jason Wick on MakeMusic Cloud, Finale, and more NAMM 2024: Avid’s Sam Butler on upcoming Sibelius features, Android app, and more NAMM 2024: Exhibition mission…
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1 NAMM 2024: An interview with Muse Group’s Jack Sutton 37:48
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Play Later Play Later Lists Like LikedAt the 2024 NAMM Show, we interviewed representatives from the businesses in our field of music notation software and related technology. Today’s podcast episode is a conversation Philip Rothman had with Jack Sutton, Muse Group’s head of communications. Jack’s first visit to NAMM coincided with the company’s first official presence at the show as the parent company of Hal Leonard, which they recently acquired. We spoke about some early fruits of that deal and the longer-term plans that they have for the future of their combined business, which brings together cutting-edge digital products with a vast library of published content. We also discussed MuseScore and the latest developments with their flagship notation product, and specifically the improvements they’ve made, and plan to make, in the areas of guitar and percussion music, as well as the overall quality of output that they hope to achieve with MuseScore in the future. If you didn’t hear our NAMM wrap-up episode, and interviews with NAMM CEO John Mlynczak, Avid’s Sam Butler, and MakeMusic’s Jason Wick, check those out in the Scoring Notes podcast feed. More from Scoring Notes: NAMM 2024: An interview with MakeMusic’s Jason Wick NAMM 2024: An interview with Avid’s Sam Butler NAMM 2024: Wrap-up and interview with CEO John Mlynczak NAMM 2024: John Mlynczak on his first show as president and CEO NAMM 2024: Muse Group’s Jack Sutton on Hal Leonard, MuseScore development and more NAMM 2024: MakeMusic’s Jason Wick on MakeMusic Cloud, Finale, and more NAMM 2024: Avid’s Sam Butler on upcoming Sibelius features, Android app, and more NAMM 2024: Exhibition mission…
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1 NAMM 2024: An interview with MakeMusic’s Jason Wick 34:57
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Play Later Play Later Lists Like LikedAt the 2024 NAMM Show, we interviewed representatives from the businesses in our field of music notation software and related technology. Today’s podcast episode is a conversation Philip Rothman had with Jason Wick, MakeMusic’s director of product development. Jason talked with me about their MakeMusic Cloud product, including their Practice tool, Sight Reading Studio, a free online composing application, and their classroom suite. We also discussed MakeMusic’s tight integration with the Alfred Publishing side of their company, the future of Finale, and more broadly considered the company’s values and strategies in today’s landscape of industry consolidation. Come back next week for another great conversation from the NAMM Show. And if you didn’t hear our NAMM wrap-up episode, and interviews with NAMM CEO John Mlynczak and Avid’s Sam Butler, check those out in the Scoring Notes podcast feed. More from Scoring Notes: NAMM 2024: An interview with Avid’s Sam Butler NAMM 2024: Wrap-up and interview with CEO John Mlynczak NAMM 2024: John Mlynczak on his first show as president and CEO NAMM 2024: Muse Group’s Jack Sutton on Hal Leonard, MuseScore development and more NAMM 2024: MakeMusic’s Jason Wick on MakeMusic Cloud, Finale, and more NAMM 2024: Avid’s Sam Butler on upcoming Sibelius features, Android app, and more NAMM 2024: Exhibition mission…
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1 NAMM 2024: An interview with Avid’s Sam Butler 34:18
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Play Later Play Later Lists Like LikedAt the 2024 NAMM Show, we interviewed representatives from the businesses in our field of music notation software and related technology. Today’s podcast episode is a conversation Philip Rothman had with Sam Butler, Avid’s director of product management. Sam talked with us about the new Sibelius features that Avid previewed at NAMM, the new Android application, and Sibelius Cloud publishing improvements. Come back the next couple of weeks for more conversations from the NAMM Show. And if you didn’t hear our NAMM wrap-up episode, check that out in the podcast feed — David MacDonald and Philip Rothman review all the industry news and analyze what it means for you. More from Scoring Notes: NAMM 2024: Wrap-up and interview with CEO John Mlynczak NAMM 2024: John Mlynczak on his first show as president and CEO NAMM 2024: Muse Group’s Jack Sutton on Hal Leonard, MuseScore development and more NAMM 2024: MakeMusic’s Jason Wick on MakeMusic Cloud, Finale, and more NAMM 2024: Avid’s Sam Butler on upcoming Sibelius features, Android app, and more NAMM 2024: Exhibition mission…
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1 NAMM 2024: Wrap-up and interview with CEO John Mlynczak 51:15
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Play Later Play Later Lists Like LikedThe 2024 NAMM Show was full of exciting news, products — and, most of all, the interesting people that create the news and products. Especially as it pertains to the Scoring Notes beat of music notation software and related technology, there was a lot to cover, and many miles were logged in service of bringing as much of the experience back to our audience. David MacDonald and Philip Rothman review each of the major interviews that took place for Scoring Notes during the show with representatives from Avid, MakeMusic, and Muse Group. We also more generally analyze the experience, the information, and what it means for the year ahead in the field. Concluding this episode is a special interview with John Mlynczak on his first show as president and CEO of NAMM in which we discuss his roots in the music notation field and its importance to the philosophy of the organization. Stay tuned all this month to the Scoring Notes podcast feed, where each week we will bring special bonus coverage of interviews with Avid’s Sam Butler, MakeMusic’s Jason Wick, and Muse Group’s Jack Sutton, as they each talk about their respective products and companies, and discuss their strategies and approaches to their business. More on Scoring Notes: NAMM 2024: John Mlynczak on his first show as president and CEO NAMM 2024: Muse Group’s Jack Sutton on Hal Leonard, MuseScore development and more NAMM 2024: MakeMusic’s Jason Wick on MakeMusic Cloud, Finale, and more NAMM 2024: Avid’s Sam Butler on upcoming Sibelius features, Android app, and more NAMM 2024: Exhibition mission…
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1 The staples of printing self-published music 1:01:48
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Play Later Play Later Lists Like LikedIt’s easier than ever to publish your own music — but that doesn’t mean it’s a simple proposition. Even though a lot of music is made available digitally, there is still a significant demand for printed material. The logistics of printing physical copies and shipping them to customers can be tricky to navigate. It’s important to not be “toner-deaf” to the challenges that come along with the opportunities you “drum” up by making your music available. In this conversation with Garrett Breeze of the Selling Sheet Music podcast, Philip Rothman and Garrett first discuss the ways in which you can work with services that will handle the printing and fulfillment for you. We also talk about what’s needed if you want to actually set up your own operation, and finally review some tools that can help you prepare your music for both specialty print services and conventional copy shops, so that you can find a smooth path towards getting the material out and avoid any paper jams along the way. More from Scoring Notes: Muse Group acquires Hal Leonard Chronology of a perfect music printing job Print perfect Name Mangler and Moom productivity apps On the margins: Headers, footers, and footnotes in Sibelius Smarter title pages for parts in Sibelius Smarter title pages for parts in Finale Working with master pages in Dorico, part 2 How to fix a common page numbering problem in Sibelius PDF-MusicBinder and PDF-BatchStitch utilities for music printing Quickly scale many PDFs with PDF-BatchScale Make booklets and 2-ups with PDF-BatchBooklet File renaming and PDF batch utilities…
With the Muse Group acquisition of Hal Leonard, and Dorico, MuseScore, Sibelius, and Finale all freshly updated, 2023 is going out with a bang. We gather round the fire and discuss all the news, as we get ready for the year ahead in music notation software and related technology. More on Scoring Notes: Muse Group acquires Hal Leonard Dorico 5.1: Filling the gaps MuseScore 4.2 adds more guitar features and improves scores with parts Sibelius 2023.11: Sonoma support, more system object positions, better Keypad Finale version 27.4 supports macOS Sonoma, true black printing, other fixes…
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1 Black Friday deals are music to our ears 1:11:21
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Play Later Play Later Lists Like LikedBlack Friday is one of the best times of the year to get new stuff at low prices. But in the world of music notation software and related technology, it can also be a chance to reflect on the way you work and create, and to acquire the tools that will complement your skills. Philip Rothman and David MacDonald summarize the best deals we’ve found to that end, review some of the newest features that make spending holiday cash a worthwhile investment — and offer up a few of our favorite low- and hi-tech stocking stuffers. Also: Check out Scoring Notes on Monday, November 20 for a comprehensive post with details on all the deals mentioned in this episode, and much more.…
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1 StaffPad updates go beyond just keeping the lights on 1:10:54
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Play Later Play Later Lists Like LikedDavid MacDonald and Philip Rothman talk with David William Hearn, the co-founder and lead designer of StaffPad, about everything from product updates to what it was like making a live demo for Apple in 40 minutes, along with the implications of AI, industry changes, the Muse Group acquisition, and much more. More on Scoring Notes: StaffPad “captures” the imagination — and your piano performance StaffPad audio update, Graphical MIDI Tools, and software licensing StaffPad brings live recordings into your scores with Audio Update Daniel Ray “muses” about Audacity and StaffPad StaffPad acquired by Muse Group; audio support planned David William Hearn and StaffPad StaffPad wows with long-awaited iPad release and new free StaffPad Reader…
To celebrate Halloween, we’re looking at scary things we see in the music notation software and score preparation process, and see if we can sweeten the experience with some tricks and treats. Philip Rothman and David MacDonald discuss the spookiness of using the mouse and how you can better become a jack-o-lantern of all trades by focusing more on keyboard commands and other shortcuts in Sibelius, Finale, and Dorico. We also look at a frightening situation that happens when laying out your music and investigate how to fix it. So don’t be afraid — we won’t ghost you as we lead you unscathed out of the haunted house of software skeletons and onto the pumpkin patch to score some tricks and treats. More on Scoring Notes: (Re)learning how to use music notation software Finale: Quick tip: Dismiss all open dialog boxes in Finale Supercharge your Finale workflow on Mac with Keyboard Maestro FinaleScripts for faster scoring in Finale Articulation metatools in Finale Sibelius: Using Sibelius Effectively: a guide to Sibelius Ultimate Sibelius from A to Z Use keyboard shortcuts to apply text expressions in Sibelius Quick keyboard access to your Sibelius plug-ins Add custom shortcuts for Keypad features in Sibelius Dorico: Dorico from A to Z Customize keyboard shortcuts in Sibelius and Dorico Assigning MIDI commands Notation Express: Notation Express for Dorico 5 released Stream Deck Mobile 2.0 brings native iPad support for the first time — and a whole lot more Notation Express for Dorico 4 released Notation Express for Dorico 3 Notation Express XL is available for Sibelius and Dorico Notation Express demo available Notation Express is now on iOS with Stream Deck Mobile…
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1 Chris Swaffer’s Notion of where music notation software is headed 55:59
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Play Later Play Later Lists Like LikedNotion is one of the oldest and most ubiquitous music notation software products available today. With its roots stretching back to Musicprinter Plus, a program invented in the 1990s, to today, with native apps on virtually all major desktop and mobile operating systems, Notion has always been at the vanguard of music notation software. Notion was one of the first applications to include high-quality orchestral samples with their software, and appeared on the iPad more than a decade before we saw Dorico and Sibelius release iPad versions of their products. Notion’s product manager Chris Swaffer has been there for most of those developments, and he joins Scoring Notes podcast co-hosts Philip Rothman and David MacDonald to tell us more about what Notion is, who it’s for, and where it’s headed — particularly in the aftermath of its acquisition by Fender, Notion’s second such move, after first being acquired by PreSonus. We first learn about Chris’s early days in the field and how he came to work on Notion, and how his experience as a composer and conductor informs his very important role. We also hear how Notion has been steadily upgrading its codebase to align with its Studio One DAW, and why its versatility is important for the product’s strategy in a very crowded marketplace. More from Scoring Notes: Music notation platforms: an industry perspective A Notion of the future Notion iOS 2.5 and Notion 6.6 desktop updates released NAMM 2019: A “Notion” of music with the 6.5 update and more Notion 6.2 released with more integration with Studio One Notion 6 released…
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Listeners responded to our “call for calls” with some terrific questions about music notation software, related technology, the business of music preparation, and more. On this episode, Philip Rothman and David MacDonald celebrate the beginning of the academic year by answering questions about the music notation software, tools, and services best suited for education. Whether you’re a student, educator, amateur, or professional musician, you’ll learn something about the wide variety of products we cover in response to the many terrific inquiries submitted by the Scoring Notes audience. The third of a multi-part episode — because we got so many questions that we didn’t have enough time to fit them all into one sitting. More from Scoring Notes: Asked and answered, part 1 Asked and answered, part 2: In awe of the DAW High fidelity audio comes to Zoom Better music experiences come to Zoom with high fidelity audio Share video and audio of music notation software via Zoom Noteflight, education, innovation, and inspiration Paperless composition lessons with iPad Pro and Apple Pencil Teaching and teaming up with tablets and tech StaffPad acquired by Muse Group; audio support planned Daniel Ray “muses” about Audacity and StaffPad Dorico and Sibelius come to the iPad…
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1 Music notation platforms: an industry perspective 58:11
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Play Later Play Later Lists Like LikedFor the first time ever, MOLA, An Association of Performance Librarians, devoted an entire day to technology that featured vendor exhibits, presentations, discussions, and meetings. Bookending the day were two panel discussions; one moderated by David MacDonald on the subject of music reader tablet experiences, and one moderated by Philip Rothman with representatives from the music notation software platforms. The concluding discussion, heard here, is entitled “Music Notation Platforms: An Industry Perspective”. It brought together the representatives of a cross-section of notation software solutions: Adrian Holovaty of Soundslice; Bradley Kunda of MuseScore; Daniel Spreadbury of Steinberg (Dorico); and Chris Swaffer of PreSonus (Notion). These “ABCD”s of the music notation software field engaged in a lively back-and-forth interchange about the philosophy behind their product development, their relationships with their user bases, and how their programs co-exist in a crowded space. More from Scoring Notes: The tech trek to the 2023 MOLA conference Half Notes: A comparison of tablet music reader technology experiences…
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1 Behind “Behind Bars” with Elaine Gould 1:13:11
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Play Later Play Later Lists Like LikedIf there is one book that anyone working with music notation needs to have, either on their desk, or on their device — or at least in a library within walking distance of their home — it’s Behind Bars: The Definitive Guide to Music Notation . Published in 2011 by Faber Music, Elaine Gould’s 700-page volume quickly became the preeminent reference for music engravers, providing an exhaustive collection of rules, traditions, suggestions, and conventions for how to set music in the clearest way possible. It’s those “general” conventions that take up first third of the book — starting from what Elaine calls the “ground rules” such as the appearance of the staff, clefs, noteheads, and more — and continues on for another 200 pages or so, before the book moves onto the areas of instrumentation and layout. Elaine joins Philip Rothman and David MacDonald to tell us about the new publication of that first section, Behind Bars: General Conventions , as a stand-alone edition suitable for slipping into your bookbag, where it won’t break the bank, or your back. In this wide-ranging conversation, Elaine talks with us about her early background and how she came to the profession of music preparation and editing. We uncover the seeds that eventually became Behind Bars, and the decades-long journey from meticulous refinements to its eventual publication and virtually overnight success. Elaine gives us her practical tips for working with composers, performers, and publishers, the realities of time pressures and budget restrictions, and the inevitable revisions that occur with new music, and tells us how she’s navigated the often-conflicting goals of the engraving ideal and the necessity of deadline-driven production. She also has advice for those that are just starting out in the field, and naturally, given our focus on music notation software and technology, she opines on what the computer’s strengths and weaknesses, the crucial differences between looking at music on a screen and on a page, and the progress made since Behind Bars was first published in 2011.…
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1 Half Notes: A comparison of tablet music reader technology experiences 40:49
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Play Later Play Later Lists Like LikedFor the first time ever, MOLA, An Association of Performance Librarians, devoted an entire day to technology that featured vendor exhibits, presentations, discussions, and meetings. Bookending the day were two panel discussions; one moderated by David MacDonald on the subject of music reader tablet experiences, and one moderated by Philip Rothman with representatives from the music notation software platforms. We’ll bring Philip’s discussion to you later this summer, but first, we hope you enjoy the discussion that David had to kick off the tech fair, about the real-world challenges and benefits of using tablet readers in orchestral performances. His co-moderator was none other than Mark Fabulich, assistant librarian of the Boston Symphony Orchestra and the co-chair of MOLA’s Technology Committee. The distinguished panelists they spoke with were three librarians, each of whom primarily use different reader apps: Julia Pestke of the West German Radio Orchestra, who uses dimusco; Luke Speedy-Hutton of the Melbourne Symphony Orchestra, who uses Newzik; and Signe Marie Steensland of the Norwegian Radio Orchestra, who uses forScore. More from Scoring Notes: The tech trek to the 2023 MOLA conference The best iPad score reader for most people [2023 update] Justin Bianco, forScore, and more…
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1 Asked and answered, part 2: In awe of the DAW 1:02:34
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Play Later Play Later Lists Like LikedListeners responded to our “call for calls” with some terrific questions about music notation software, related technology, the business of music preparation, and more. On this episode, Philip Rothman and David MacDonald take a variety of questions and dispense solicited (and unsolicited) advice. The topic at hand for this part: Using music notation software with — or as — a digital audio workstation (DAW). The second of a multi-part episode — because we got so many questions that we didn’t have enough time to fit them all into one sitting. More from Scoring Notes: Asked and answered, part 1 NotePerformer 4 connects your favorite notation software to your favorite sample libraries Graphical MIDI Tools 2.1 for Sibelius updated to add transport, more editing features Graphical MIDI Tools 2 is a major upgrade to the DAW-like plug-in for Sibelius Graphical MIDI Tools plug-in brings sequencer-like capabilities to Sibelius Dorico 5 review: Moving the music forward Dorico 4.2 adds percussion to the Key Editor and improves linked mode StaffPad audio update, Graphical MIDI Tools, and software licensing StaffPad acquired by Muse Group; audio support planned “Playing” with notation software, part 1 of 2 “Playing” with notation software, part 2 of 2 Long-awaited MuseScore 4 release brings major improvements to engraving and audio…
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Listeners responded to our “call for calls” with some terrific questions about music notation software, related technology, the business of music preparation, and more. On this episode, Philip Rothman and David MacDonald take a variety of questions and dispense solicited (and unsolicited) advice. Among the topics: the best way to switch among different platforms, how to set up condensed scores, what makes a good portfolio, what printer to use and where to get paper, and much more. The first of a multi-part episode — because we got so many questions that we didn’t have enough time to fit them all into one sitting. More from Scoring Notes: Getting the notes in Don’t extract parts Get organized with music notation files Print perfect Chronology of a perfect music printing job…
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1 Ask your questions on the Scoring Notes podcast 2:59
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Play Later Play Later Lists Like LikedHave you ever listened to an episode of the Scoring Notes podcast and wished you could ask a question directly on the show? No?! Never had that desire? But now that I’ve mentioned the possibility, it sounds like something you’d want to do, right…? Right? Seriously, we actually do get a lot of questions and suggestions for the podcast, and many of those have made it onto the show in one way or another. But for our next episode, we thought we’d open up the phone lines directly, so to speak. So, now’s your chance to ask a question about anything in the world of music notation software and related technology — or really, any one of the adjacent subjects we’ve covered on the Scoring Notes podcast or web site, and we may feature it on our next episode. Just record your question as a voice memo and drop it directly here , or send it as an email attachment or as a file-sharing link to podcast@scoringnotes.com . We’d love it if you provide your name (first name only is OK), where in the world you’re calling from, and what music notation software you use — or if you don’t use it at all (yes, we have quite a few listeners in that camp). If you’re shy, you can alternatively write your question in an email and send it to us, and we may read it on the show. Send us your question no later than Wednesday, April 19, 2023 , so that we have time to consider it and do the many hours of scholarly research that will no doubt be required, and to formulate a worthy reply in time for our next podcast episode.…
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1 (Re)learning how to use music notation software 56:25
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Play Later Play Later Lists Like LikedIt’s fair to say that the concept of music notation software is easy to understand. You write music on a computer, it shows up on your display, and you print it out. What could be so difficult about that? Well, as we all know, plenty. Philip Rothman and David MacDonald remember beginning with zero knowledge about programs like Finale, Sibelius, and Dorico, and eventually progressing to the point where we can actually teach those programs to others trying to learn them. Along the way, we’ve discovered and refined approaches to learning that we share with each other, and with you, in the course of our discussion. We revisit our original discussion on the topic, and add a postscript — what we’ve learned about learning in the intervening years. No, we won’t be reciting all 892 pages of the Sibelius reference or 1,605 pages of the Dorico manual, but we will relay some key philosophies so that you have more confidence when you work with the software you use to create music. More on Scoring Notes: Documenting the documenter: Lillie Harris Conquering Finale with Jason Loffredo An interview with Sibelius expert Robin Walker Read the friendly manual…
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1 How we don’t use music notation software (but do use related technology) 59:31
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Play Later Play Later Lists Like LikedSometimes music notation software is perfect for the job, but other times, it’s the related technology that’s better suited to the task. Fortunately, we cover both sides of the equation on Scoring Notes — and it’s the latter part that Philip Rothman and David MacDonald discuss on this podcast episode. When creating scores and parts, music notation software is clearly the choice. But what about front matter — the pages of text and sometimes other markings and symbols that preface the music? For that, better options may exist. We look at the pros and cons of making that material directly in music notation software, and suggest apps for when it’s helpful to split the job. We talk about some of our favorite apps specifically for working with PDFs and the surprising number of ways that you can edit a file using those apps — and may need to do so — without actually having access to the music notation files or the software. What about when you need to make music notation outside of notation software? For that, there is a whole suite of fonts designed to create music notation within non-music apps. They’re called MusFonts, and Dan Kreider created them to fill this niche. For many users, creating audio is an essential component of music notation software, and we outline ways to complement the built-in process of making MIDI mockups with other software without getting too complicated. Finally, we give a shout-out to our favorite piece of related technology. More from Scoring Notes: Export PDF to true black in Finale, and a macro for all parts Fix printing problems with Sibelius, PDFs, and Acrobat Quickly scale many PDFs with PDF-BatchScale Make booklets and 2-ups with PDF-BatchBooklet PDF-MusicBinder and PDF-BatchStitch utilities for music printing File renaming and PDF batch utilities MusGlyphs, an advanced music text font MusGlyphs updated to 2.1; text version added MusAnalysis, an advanced font for musical analysis MusFrets, a font for chord diagrams Introducing Ambitus, a new font for pitch incipits, scales, and range diagrams Preparing teaching materials in music notation software “Playing” with notation software, part 1 of 2 “Playing” with notation software, part 2 of 2 Apps and fonts we talk about: Microsoft Word Apple Pages Affinity Adobe Acrobat PDF-BatchScale PDF-BatchStitch PDF-BatchBooklet PDF-MusicBinder PDF Squeezer PDF Expert MusGlyphs MusAnalysis MusFrets Ambitus…
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forScore, the sheet music reader, is the no. 1-ranked music app on the Apple Store with good reason. Justin Bianco, its creator and developer, relentlessly refines the vision that he had when the iPad was first introduced: to make a simple yet powerful music reader for Apple’s revolutionary platform. Used in all music genres, in live performance, score study, and in countless other ways, forScore is one of the first apps that musicians download after getting an iPad, and is often the reason for purchasing the device in the first place. Philip Rothman and David MacDonald talk with Justin about the tech, his philosophy, his background — and why his mom is his target user. We also learn what the future might hold for forScore in terms of new features, interoperability with other apps, and whether or not it will ever appear on other platforms. More on Scoring Notes: The best iPad score reader for most people…
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1 Behind the scenes with MuseScore 4’s design and engraving improvements 1:06:22
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Play Later Play Later Lists Like LikedThe release of MuseScore 4 is a major update and quite possibly the most significant one in the open-source application’s history since the release of MuseScore 1.0 in 2011. It includes major improvements to the user interface, layout, engraving, and playback features. Not coincidentally, this is also the first major version of of MuseScore to be released under the product leadership of Martin Keary, Muse Group’s vice president of software. Coming nearly two years after the last MuseScore update (3.6) and nearly four years after the release of MuseScore 3, Martin said, “I’ve worked on a lot of complex creation software and this is the largest release I’ve ever put out,” including the launch of Paint 3D and a variety of PS3 games. Martin returns to the Scoring Notes podcast along with Simon Smith, Muse Group’s head of engraving, to talk with Philip Rothman and David MacDonald for a thorough discussion about MuseScore 4’s design and engraving improvements. We go behind the scenes to hear about the decisions, roadblocks, and good fortune that happened along the road to the release of this version of the software. They discuss their philosophies about creating tools for musicians and how they approached the challenges of modernizing an existing application, all the while keeping both existing and new users in mind. We cover the details of engraving, including ties, beams, note spacing and more. Martin and Simon tell us their favorite “under-the-radar” features in MuseScore 4 and highlight some items that users might not be aware of. Finally, we learn what’s missing in MuseScore and what to expect as they continue to develop the product for MuseScore 5 and beyond. More on Scoring Notes: Long-awaited MuseScore 4 release brings major improvements to engraving and audio MuseScore 3.6 focuses on engraving upgrades, new fonts Daniel Ray “muses” about Audacity and StaffPad StaffPad acquired by Muse Group; audio support planned Muse Group formed to support MuseScore, Ultimate Guitar; acquires Audacity Daniel Ray, Martin Keary, and Musescore…
Philip Rothman and David MacDonald review significant themes and product releases, reflect on our favorite podcast episodes, recall fun times, spread holiday cheer, and refresh ourselves for the year ahead in the world of music notation software and related technology. More from Scoring Notes: Scoring Notes product guide Podcast highlights from 2022: From “zero to slice”: Soundslice takes on optical music recognition with AI Melissa Smey’s commission mission Setting the scene with Joshua Luty Tim Davies takes the macro view MOLA 2022: Advancements in music notation software Cleo Huggins, the designer of the first music font The rights stuff…
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1 From “zero to slice”: Soundslice takes on optical music recognition with AI 50:41
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Play Later Play Later Lists Like LikedSoundslice syncs audio, video and music notation into a single web-based interface that can be used on virtually any piece of music. A favorite tool for musicians that want to learn how to play music by interacting with both the sheet music and a recording, it’s at the cutting edge of some developments in the more general field of music applications. As it has rolled out more robust features over time, Soundslice’s goal has been to get from “zero to slice” as quickly as possible. A “slice”, in Soundslice parlance, is any piece of music notation, large or small. One crucial way of getting to that slice is from existing music that may not exist as a recording or a music notation format that can be easily converted to MusicXML. So that’s where music scanning comes into play. Although music scanning, or optical music recognition (OMR) technology has been around for decades, it’s now possible to marry music-notation know-how with advancements in machine learning, or “artificial intelligence”. Soundslice’s latest feature aims to harness that technology to learn as it goes, and get better at interpreting the music with every scan it processes. Soundslice’s founder, Adrian Holovaty, returns to Scoring Notes to talk all about how Soundslice works in this regard and helps us understand its potential to revolutionize this important step in music preparation. More reading and listening: Adrian Holovaty: Thoughts on my first machine learning project Soundslice: State-of-the-art music scanning Scoring Notes: Soundslice’s Adrian Holovaty Scoring Notes: Marie Chupeau and the human side of Newzik’s artificial intelligence…
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1 Back in the black with holiday deals and discounts 57:31
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Play Later Play Later Lists Like LikedIt’s here! Black Friday, the time when retailers and consumers meet in the happy place of sales and specials. This time can be about more just getting a few dollars off, though — it can be an opportunity to acquire new skills using products and services that will benefit you all year round. To that end, Philip Rothman and David MacDonald run through all the deals we know about for music notation software, and recap some of the latest new features that could entice you to open your wallet. We break down the ways to save while spending, including stacking discounts and taking advantage of competitive crossgrade offers, which can yield significant reductions on the overall cost of acquiring many of the products we cover on a regular basis. We also talk about the offers for some related technology, like web apps, sound libraries, graphic design software, and more, making this episode holiday music to anyone’s ears.…
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On the Scoring Notes podcast, we have spoken before about music preparation and the technology we all use to create musical compositions and get them in front of players and an audience. But how do those compositions begin in the first place? We’re not talking about the magical moment when a composer wakes up and decides that they are going to create their magnum opus. It’s when the phone rings (or maybe these days it’s a text message or an email), and when the composer picks up, on the other end of the line there is someone inviting them — commissioning them — to write a new piece of music. Melissa Smey is the person who has been on the other end of that line many times. She tells us all about what that process is like. Melissa is the Associate Dean and Executive Director at Columbia University School of the Arts, where she leads the Arts Initiative, Miller Theatre, and oversees the Lenfest Center for the Arts. Melissa has commissioned over 40 new works from leading international composers and is the co-creator and host of the acclaimed podcast Mission: Commission , which demystifies the process of how classical music gets made. We talk about the particular role a university arts presenter has in campus life and the larger community, and how Miller Theatre’s Composer Portraits have been particularly successful in building an audience that will come out to hear a wide variety of music. We also discuss the “road trip” of commissioning a new work and the nature of music preparation in bringing a piece to life, with special attention on the performers who will ultimately be tasked with interpreting the music, whether it’s notated on paper spanning three music stands or is beamed from the latest music tablet devices.…
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When Aaron Copland thought of the Far West, he probably didn’t have Wisconsin in mind, but Milwaukee was the perfect location to “road test” the new edition of Rodeo. That’s where Philip Rothman went for the first rehearsals of a new edition of Copland’s masterpiece that I prepared. The Milwaukee Symphony Orchestra, under the direction of music director Ken-David Masur, agreed to play from a brand new set of score and parts to Rodeo. You might wonder, what was wrong with the old edition? Certainly, it’s been played from thousands and thousands of times. When the piece was first published in the 1940s, a number of errors and inconsistencies crept into the parts. Although they’ve been corrected by intrepid orchestra librarians, it was time to get them straightened out once and for all. One reason for the inconsistencies was that the “Four Dance Episodes” from Rodeo, which is the version that most everyone is familiar with, is extracted from the full ballet. That version left a lot to be desired in the engraving department, so, with the support of The Aaron Copland Fund for Music, and in coordination with Boosey & Hawkes, the team at NYC Music Services put it all into modern software and made brand new materials for both the ballet and the Four Dance Episodes, with the goal of clarifying any discrepancies and making everything nice and easy to read. The Milwaukee players were great, and you can read more about it on the Scoring Notes web site. It must have been fate to go there, because in researching this piece, we stumbled across a fascinating interview that Copland gave in 1970 while visiting the University of Wisconsin-Milwaukee. It’s thanks to the library archives of that university that we’re pleased to bring you that interview here as a Scoring Notes extra. Copland talks with professor John Downey about the iconic ballets like Rodeo, the various people and musical trends which influenced him, and the divergent aspects of his own work throughout his career. You’ll also hear him talk about what was current at the time and discuss the future of music. This episode is co-produced with The Aaron Copland Fund for Music, with material kindly provided from the Archives Department, University of Wisconsin-Milwaukee Libraries. More from Scoring Notes: Road report: Copland’s Rodeo in Milwaukee…
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We’ve spoken about opera occasionally on a few Scoring Notes episodes — like in the 2-parter we did on lyrics, for instance. But a genre as big and complex as opera deserves our uninterrupted focus. Around for centuries as an art form, opera continues its appeal through the present day, with many contemporary composers working in this area, including a few that have made it their specialty. Due to its length, large forces and form, multiple movements, revisions, vocal elements, piano reductions, and more, if you’re working with opera, you stand to benefit from a strong knowledge of different areas of music notation software. Joshua Luty joins Philip Rothman and David MacDonald to talk all about the intersection of the timeless art form of opera and the use of technology to help prepare it. Joshua is the music librarian for the Houston Grand Opera and serves with Philip on the MOLA Technology Committee. You won’t have to search too hard to find his expert advice on the some of the Dorico and engraving forums on the socials. In addition to those credentials, Joshua’s the editor and rental librarian for the composer Joel Thompson, and the Former Lead Editorial Assistant for the George and Ira Gershwin Critical Edition at the University of Michigan’s Gershwin Initiative, and has had other notable positions in the music field. Joshua takes us behind the curtain and into the dungeon of the opera music library, preparing a new opera from conception to workshop to revisions and finally performance. We discuss the mix of old-fashioned and new technology that Joshua and his colleagues use to make it all happen, and learn some surprising facts about the process. We also get essential advice about the importance of vocal scores, preparing parts, how to label inserts, cueing, and printing. Whether or not you work on opera, this podcast episode “sets the scene” with practical advice that you can “act” on when using music notation software and related technology to produce your next creation. More from Scoring Notes: Lyrics and vocal music, part 1 Lyrics and vocal music, part 2 Working with page numbers in Sibelius…
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1 Setting a high bar (from Selling Sheet Music) 33:11
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Play Later Play Later Lists Like LikedGarrett Breeze’s podcast, called Selling Sheet Music , features practical advice about the art and the business of getting scores from your head to the music stand. Garrett invited Scoring Notes co-host Philip Rothman to be a guest on his show, and it was fun having someone ask Philip the questions for a change instead of the other way around. We discussed thoughts on preparing music and the tech that’s used in everyday work. Philip talks about his business, NYC Music Services , how he got started, and how the tasks have evolved over time in response to changing needs and technological progress. We also talk about some essential elements of preparing your music for publication and how to go about choosing software that fits your workflow. Garrett even got into the Scoring Notes spirit and titled this episode “Setting a High Bar” — that definitely ‘measures’ up to our standard of making terrible musical puns around here. Enjoy this episode, courtesy of Garrett Breeze and Selling Sheet Music .…
If you’re not up to date, then you’re missing out on the latest features. That’s always been true, but perhaps never more so than now, with regular updates being the norm for music notation software. Philip Rothman and David MacDonald review the latest updates to Dorico, Sibelius, Finale, and MuseScore, and highlight the most useful new features — and what’s in those updates that may portend well for the future. More from Scoring Notes: Dorico 4.2 adds percussion to the Key Editor and improves linked mode Dorico 4.1.10 update is available Dorico 4.1 review: a better Key Editor; improvements to lyrics, interface and more Guitar tab can be fun in the Sibelius 2022.7 update Sibelius 2022.5 brings multi-section headers, other workflow boosts Sibelius for Mobile adds transpose feature Finale version 27.2 adds new jazz template, native Apple silicon support Finale to include and support eight JW plug-ins in next update Daniel Ray “muses” about Audacity and StaffPad Daniel Ray, Martin Keary, and Musescore MuseScore 3.6 focuses on engraving upgrades, new fonts…
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Tim Davies calls himself “really an arranger that fell into orchestrating,” but that barely begins to describe the active and successful musical life that he leads. Born and educated in Australia, now based in Los Angeles, the Grammy-nominated and Annie-winning musician splits his time between orchestrating for features, television, and video games; composing his own scores; and conducting and arranging for orchestras all around the globe. Tim’s film and TV credits as lead orchestrator and/or conductor include Frozen and Frozen 2 , both Ant-Man movies, The Lego Movie 2 , La La Land , Trolls , and The Peanuts Movie . He’s prolific in the world of video games, including God of War , Infamous , Sims , the Resistance and Batman franchises, Spider-man , and Halo: Infinite . He’s a busy conductor in concert halls and other live venues specializing in live to picture scores, and we haven’t even mentioned all the special projects he’s arranged for productions like the BBC Proms and Academy Awards. And if that wasn’t enough, that pair of Grammy nominations were for his own big band recordings, where he not only composed the music, but played the drums, as well. Despite his busy schedule, Tim not only finds time to write extensively about his experience and approaches on his web site, timusic.net , but counts it as one of the most important things that he does. The series of articles about the craft of orchestration — complete with illustrated examples — numbers well into the dozens, and explores related subjects like conducting, jazz voicing, and — our favorite — music notation software. Philip Rothman and David MacDonald have a wide-ranging conversation with Tim in which all of those topics are explored. We start with Tim’s early days as a student, where he made his own opportunities, and how his initiative and innate musicality combined with a relentless pursuit of practicality — along with a healthy dose of keyboard macros — has served him well as he worked his way to being one of the most sought-after professionals in the business. More on Scoring Notes: Dave Metzger, part 1: Arranging and orchestrating Dave Metzger, part 2: Workflow and tech…
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1 Half Notes: Mark Fabulich on committing to technology 11:06
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Play Later Play Later Lists Like LikedWe continue to share some interviews that we did with members of MOLA, An Association of Performance Librarians, at their annual conference in June. We’re calling these brief conversations “Scoring Half Notes”. In this segment, we talk with Mark Fabulich, an assistant librarian at the Boston Symphony Orchestra. Mark is the chair of MOLA’s Technology Committee. In that role, he guides its members as they stay on top of the latest digital developments and disseminate that information to the general MOLA membership. At the MOLA conference, Mark co-delivered a presentation entitled “(Y)Our Future with Digital Sheet Music” with Georgina Govier, head of music library at the Welsh National Opera, as well as with none other than Scoring Notes podcast co-host David MacDonald. We talk about the content of that presentation, as well as other technologies like Photoshop, spreadsheets, and, of course, music notation software — all of which today’s performance librarian needs to have at their disposal in their modern digital toolbox. More from Scoring Notes: MOLA 2022: Advancements in music notation software MOLA 2022 conference wrap-up Half Notes: Jane Cross, keeping music files safe…
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1 Half Notes: Jane Cross, keeping music files safe 15:57
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Play Later Play Later Lists Like LikedFor the next few weeks we’ll be sharing some interviews that we did with members of MOLA, An Association of Performance Librarians, at their annual conference in June. We’re calling these brief conversations “Scoring Half Notes”. In today’s segment, we talk with Jane Cross, a music archivist at the Library of Congress. She’s been in that position nearly three years, and before that, was a librarian with the prestigious United States Marine Band for 22 years; 11 of those as chief librarian. At the MOLA conference, Jane delivered a presentation entitled “ Bits and Bytes: Managing All Those Digital Music Files ”. It’s a topic we turn to from time to time here on Scoring Notes, and we loved catching up with an actual archivist to tell us how to be our best selves in this area. Even if you weren’t present for Jane’s discussion, we’ve included a link to her presentation and a very helpful risk mitigation worksheet . You’ll want to remember the acronym LOCKSS: “Lots Of Copies Keep Stuff Safe”. Bits and Bytes: Managing All Those Digital Music Files : Digital Preservation in the Performance Library Digital Preservation Risk Mitigation Worksheet More from Scoring Notes: MOLA 2022: Advancements in music notation software MOLA 2022 conference wrap-up…
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1 MOLA 2022: Advancements in music notation software 48:47
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Play Later Play Later Lists Like LikedAt the 2022 MOLA conference , Philip Rothman and David MacDonald jointly presented a session called “Advancements in Music Notation Software”. It’s a summary of the developments from the past year or so in the world of music notation software and related technology, and we thought it made for a great podcast episode if you’re looking to get caught up on what’s new or just refresh your memory. We took some questions from the audience, too, and put it all together for you here on Scoring Notes. Later this month, we’ll release some brief bonus segments featuring conversations we had with our librarian colleagues, so look for those in your Scoring Notes podcast feed. More from Scoring Notes: MOLA 2022 conference wrap-up Measure items in PDFs using Acrobat Reader and Preview A review of optical music recognition software Scoring Notes Product Guide…
What happens when you combine custom fonts, fine-tuned engraving settings, and decades of collective music preparation expertise? The Scoring Express templates for Sibelius, Dorico, and Finale. Philip Rothman and David MacDonald talk with Joseph Trefler and Leo Nicholson about the creation of new template suites for Finale and Dorico, along with an update to the Sibelius version. We discuss the catalysts for creating professional, easy-to-use solutions for each application, and explore the high-level concepts of using Scoring Express along with the nerdy minutiae. More on Scoring Notes: Scoring Express for Dorico and Finale released; Sibelius templates updated…
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1 Flutronix: Allison Loggins-Hull and Nathalie Joachim 59:14
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Play Later Play Later Lists Like LikedAllison Loggins-Hull and Nathalie Joachim are distinguished flutists and composers, and Flutronix , the name of their duo, says it all. Known for their unique blend of classical, hip hop, electronic programming and soulful vocals, music and technology intersect constantly in their work and music. They’re active in all of those genres and more, and yet somehow they found time to talk to Philip Rothman and David MacDonald about all of it. We first learn about how Allison and Nathalie met and began their collaboration, and the process of creating brand new repertoire for their unique combination of two flutes and electronica. They tell us about their influences and process of composition, and how, despite various labels being applied to their music, they aim to defy genre classification and instead simply create music that they want to play and hear. We then get into the tech, starting with, what else: music notation software. Allison and Nathalie use Sibelius and they talk about how it helps them visualize their music, both at a macro level as well as with respect to the finer details of harmony and chord structure. Their use of digital audio workstations as well as hardware and software synths play a crucial role in creating and developing their sounds, and we find our what they’re currently using and how they use it with music notation software. Finally, we discuss the importance of music preparation and how essential well-prepared scores and parts are in rehearsal, especially when other elements like electronics are literally in the mix. Heard on this episode: Life Lines, by Nathalie Joachim Wander, by Nathalie Joachim Suite pou Dantan: III. Resevwa li, by Nathalie Joachim Homeland, by Allison Loggins-Hull Brown Squares, by Flutronix…
As the Scoring Notes podcast approaches the two-year mark and our 100th episode, we announce some changes to the release schedule and preview what’s coming in future episodes. More from Scoring Notes and elsewhere: Nicole Jordan, Philadelphia Orchestra librarian [encore] MOLA 40th Annual Conference MuseScore 4 – First Alpha Released…
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Knowing the various rules and conventions that govern the setting of lyrics in vocal music is a good start, but if you use music notation software, there’s more to learn. In this second of a two-part episode, Philip Rothman and David MacDonald discuss how to actually apply those principles in the leading scoring programs: Finale, Dorico, and Sibelius. There’s a surprising degree of overlap in the way that these programs approach lyrics, but also some crucial differences. We first start by talking about how the software conceptualizes lyrics, and where to find them in the program. We discuss the various ways that you can actually get the lyrics into the file: typing into the score, copying and pasting, and importing. A few small but useful details don’t go overlooked: hard spaces, hyphens, elisions are important elements of lyrics but are special cases when it comes to inputting text. Then, how do you edit the lyrics once they’re into the score? Lyric settings are found in a variety of places in the software — document options, engraving rules, text style definitions, default positions — and we help you find your away around and try to avoid some common pitfalls. Hyphenation, or syllabification, is a hot-button topic and we offer up several tips of our own as well as those from podcast listeners. We also take a few questions and address those at the end of the episode. More on Scoring Notes: Lyrics and vocal music, part 1 Tricks for lyrics in Finale 3 helpful plug-ins for working with lyrics in Sibelius Differentiating staff text, system text, and lyrics in Sibelius Traditional lyrics beaming and slurs on melismas Adding extra lines of lyrics Making lyrics something to sing about Elsewhere: The Lyric Hyphenator…
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Working with lyrics and vocal music presents a special set of challenges and opportunities to burnish your music engraving skill set. In this first of a two-part episode, Philip Rothman and David MacDonald discuss many of the conventions and principles that govern lyric text. Staff position, alignment, and spacing must all be carefully considered when setting vocal text, and we sort through the best approaches for presenting the music clearly in relation to the lyrics. Beaming is an issue that has often confounded notesetters — specifically syllabic beaming, where the beams reflect the text instead of the rhythmic groups — and we talk about the change from traditional to modern notation and how best to handle melismatic passages. Fonts, always a favorite topic of conversation on Scoring Notes, are again worthy of exploration, and why certain fonts are better than others for lyrics. We offer our suggestions there, and also discuss the topics of hyphenation and word extensions that are necessary components of any instance where vocal text is present. There’s much more we cover in this episode, and then in the next episode, we’ll talk about where in the music notation software you can find the settings to control these various aspects and some tips to achieve good results. More on Scoring Notes: Lyrics and vocal music, part 1 Dan Kreider on hymnal engraving Use the Tinos font as a metrically equivalent replacement for Times New Roman…
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When you work with music notation software, sometimes the greatest challenge is knowing what a task is actually called and where to find it. Plus, if you use more than one program, the same item might be implemented in different ways. In this encore presentation, Philip Rothman and David MacDonald go on a scavenger hunt to find useful features in Finale, Sibelius, and Dorico. We’ll uncover some hidden and not-so-hidden treasures on our journey, like repitching, exploding and reducing music, multi-edit workflows, and filters. We’ll also review how to reset it all when everything goes awry, so you can feel confident experimenting with new ways to make the software work for you, and not the other way around. Be sure to stick around to the end of the episode for a little update that covers a new feature introduced in Dorico 4: Instrument Filters. We’ll talk about that and where to find the comparable feature in Finale and Sibelius. More on Scoring Notes: Re-input pitches in homophonic music The Sibelius 2018.1 release is smarter with multi-edit workflow improvements Sibelius 2018.4 released with multi-edits for text Dorico 4 review Dorico 3.5 review Sibelius 2020.9 update focuses on staves The focus is on staves with the Sibelius 2020.9 update…
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1 Recapping the latest Dorico and Finale updates 21:14
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Play Later Play Later Lists Like LikedSoftware updates are often blockbuster events, but sometimes they are smaller affairs that just make working in the programs appreciably better. Such is the case with the latest updates to Finale and Dorico. Philip Rothman and David MacDonald recap the Finale v27.2 update, which featured new a jazz template and document style designed in collaboration with Darcy James Argue. We also explain why it’s important Finale is now a “universal” application for Macs, like Dorico 4 is, which means that it can run natively on Apple’s newest M1-powered machine. We then turn our attention to the Dorico 4.0.20 update, and highlight a few of our favorite improvements in this update. We discuss why the jump bar, the seemingly low-tech text-only way of working in Dorico, might be the secret to working faster in Dorico now that it returns better search results. We also discuss improvements to Dorico’s Key Editor and look ahead to what’s already been promised to come in the next update. More on Scoring Notes: Dorico 4.0.20 update brings fixes and improvements; iPad version also updated Darcy James Argue jazzes up Finale with “style” Finale version 27.2 adds new jazz template, native Apple silicon support…
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1 Darcy James Argue jazzes up Finale with “style” 41:38
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Play Later Play Later Lists Like LikedDarcy James Argue returns to Scoring Notes to talk with Philip Rothman about his role in creating the fully revamped SMuFL-compliant jazz default file and document style in the Finale v27.2 update. Darcy’s a composer, bandleader, and, as pertains to today’s topic of conversation, world-renowned music preparation expert, particularly when it comes to Finale. Darcy’s a stickler for detail, and he tells us all about the process of overhauling the Finale Jazz defaults, with more than two decades’ worth of items on his wish list. One of those items is the addition of lower case characters to the JazzText font — something that users have been asking for since it was first introduced by Rich Sigler back in the 1990s. It’s not just an aesthetic preference; when used in chord symbols, they make it much easier to read and understand. The chord symbols in the new SMuFL Finale Jazz Font Default are all made up of individual characters (not single-character JazzChord glyphs) and can all be typed directly into the score, and Darcy discuss the process of stripping down the original font into its most basic elements and reconstituting them to be used in as many chord symbol combinations as was practical to include. There are also many differences under the hood in Document Options , such as tie and slur appearance, tuplet bracket appearance, margins, and layer settings, and Darcy tells us about the inspiration for those — including everything from Judy Green manuscript paper to the artful copyists of the golden age like Clinton Roemer and Bert Kosow. We also talk about what this means for Finale users now and in the future. More on Scoring Notes: Finale version 27.2 adds new jazz template, native Apple silicon support Finale version 27.1: SMuFL burrows deeper Finale version 27 review: SMuFL and MusicXML 4.0 support Cooperating with chords in Finale DJA’s Notes: Left-align chord symbols A few brief thoughts about the size of music paper…
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1 Cleo Huggins, the designer of the first music font 57:23
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Play Later Play Later Lists Like LikedWe talk a lot about fonts on the Scoring Notes podcast. But there was a time when there were no music fonts. And then, there was one. Cleo Huggins, on the staff of Adobe in 1986, designed Sonata, the very first music font. It’s hard to imagine today, but it was revolutionary at the time, and a leading industry publication called it the “Music Product of the Year”. Sonata provided the blueprint for the core music fonts later created for use in Finale and Sibelius, but it may surprise you to learn that Sonata was created without any one particular music software product in mind. Cleo tells Philip Rothman and David MacDonald about her early studies with some of the great typographic experts of the 1970 and 1980s, and how her work in graphic design, 3-D animation, background as a violinist, and a key meeting with Steve Jobs about the launch of the first Macintosh computer all led to her taking responsibility for creating Sonata. Cleo discusses the revolution in PostScript technology and the introduction of the laser printer, and how that made it possible for her to create a high quality music font that was unconstrained by limitations of bitmapping. She recalls the various sources of inspiration and research she did — everything from Bach’s manuscript to the Music Writer, to Notaset dry transfer sheets — and the process of regularizing beautiful calligraphy without losing the distinctive elements of music notation. She also recalls thinking about all the minute details from careful placement to the key mapping of each character, and the feedback received from early music software pioneers eager to incorporate Sonata into their programs. Cleo’s career moved on from Sonata to a variety of endeavors, all propelled by a deep curiosity and propensity to good, and we talk about that too — and ask her if she’d ever come back to the world of music fonts, with all of the progress that has taken place in the nearly four decades since her groundbreaking work transformed the history of music notation. More on Scoring Notes: Daniel Spreadbury on music fonts: past, present, and future Music fonts and open standards with Daniel Spreadbury A brief history of music notation on computers Back to the future of music notation on computers How to make a SMuFL font From the Finale Blog: Meet Steve Peha, creator of Petrucci, Finale’s first music font A brief history of Finale fonts…
You may know all about writing music. But what about your rights and music? That’s what Philip Rothman and David MacDonald unpack on this episode with Jim Kendrick, one of the industry’s foremost experts on the subject. As an attorney and music publisher representing major composers and institutions, Jim has decades of experience navigating the often-complex world of intellectual property on behalf of his clients, and he deftly steers us through the intersection of creativity, copyright, and technology. First we learn about Jim’s journey from oboist, to music publisher, to attorney. Jim then outlines the history of copyright and tells us both when copyright takes effect and what the six exclusive rights in works that copyright owners have. We then discuss the practical effect of those rights and how they can be protected and licensed, as well as the technological changes in the industry over time in terms of producing and distributing music. Music notation software plays an important role in the creation of musical work and we explore what rights engravers and editors might have, or not, in the process of producing a piece of music, and the concept of work-made-for-hire. Finally, we look at ways in which the field is adapting to the reality of licensing music in the digital era, and what is — and isn’t — fair use, and the four factors that determine when it may be legally permissible to copy music. Disclaimer: Our hosts and guest are not speaking on behalf of any clients or organizations with which they may be affiliated, and the content of this program is not legal advice. If you have a need for legal advice, please contact a qualified practitioner.…
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1 Michael Good, the inventor of MusicXML [encore] 59:59
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Play Later Play Later Lists Like LikedIf you’ve ever needed to open a Finale file in Sibelius, or a scan music in SmartScore and bring it into Dorico, or write something in StaffPad and upload it to MuseScore.com, you’ve relied on MusicXML to make it happen. MusicXML is the standard interchange format for music notation applications, and it’s what makes such robust interoperability possible between hundreds of programs. We might take it for granted now, but that doesn’t mean we should. MusicXML was invented by Michael Good, and on this episode, Philip Rothman and David MacDonald talk with Michael about how he came to create such important technology more than two decades ago. He tells us the inside story of what it took to get it off the ground, and puts us in the room at pivotal moments in its development, from its humble origins all the way through to its current incarnation as part of a thriving worldwide community. We also learn what to expect in the next version, MusicXML 4.0, and how this now-ubiquitous established format is keeping pace with the newest technological changes. This episode is an encore of the episode that first aired on March 13, 2021, with a few updates at the beginning about the release of MusicXML 4.0 and Dolet 8 for Sibelius. Read the transcript of this episode More on Scoring Notes: Dolet 8 for Sibelius adds MusicXML 4.0 support and much more Finale version 27 review: SMuFL and MusicXML 4.0 support NAMM 2017: Talking MusicXML and more with Michael Good MakeMusic and Steinberg transfer development of MusicXML and SMuFL to web community group NAMM 2018: W3C Music Notation Community Group meets; MNX is next NAMM 2019: W3C Music Notation Community Group meeting W3C Music Notation Community Group meeting at Musikmesse 2019…
Printing music is something that takes skill and attention to detail — both by the music preparer and the printer. When everything’s communicated well, it leads to print shop nirvana and the ideal result for everyone involved. Philip Rothman and David MacDonald talk through a specific project and illustrate the various steps along the way to set it up for success. No detail is too small, from the page size, to the number of copies, to the shipping methods desired. Philip relays his tips and best practices from the perspective of a professional music printing service. Then, David gives advice for how to ensure good results if you need to take your project to a more general-service copy shop, or even if you are printing yourself, like some inventive ways to format the page size and convey the instructions to minimize the risk of errors that can be introduced and avoid miscommunication in what is one of the last, most critical steps in preparing a piece of music. More on Scoring Notes and elsewhere: Chronology of a perfect music printing job Creating PDFs from Sibelius 7 Export File Names Dialog in Dorico Name Mangler and Moom productivity apps On the margins: Headers, footers, and footnotes in Sibelius Smarter title pages for parts in Sibelius Smarter title pages for parts in Finale Working with master pages in Dorico, part 2 How to fix a common page numbering problem in Sibelius PDF-MusicBinder and PDF-BatchStitch utilities for music printing…
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1 Back to the future of music notation on computers 37:59
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Play Later Play Later Lists Like LikedBefore the personal computer revolution of the late 1970s, computers were so large and so expensive that they could only be found in universities and government departments. But almost as soon as there were computers, people were figuring out how to use them for creating and printing music. Ben Byram-Wigfield joins Philip Rothman and David MacDonald on a journey back in time and again to the present day to discuss some of the key moments of encoding music notation in the form of 1s and 0s. We start with the huge mainframe computers of the 1950s which, despite having mere kilobytes of memory and storage capacity, were capable of creating some of the first machine-aided music. As plotter printing technology emerged, so too did computers that could produce music on thes machines. Leland Smith’s SCORE took hold at some of the major publishing companies and was groundbreaking in the way it drew music notation without using any fonts. Eventually, music fonts were necessary, as well as a way of sharing music amongst the varying formats that were used to encode music. Ben was a classmate of Jonathan and Ben Finn, the co-founders of Sibelius, and we race toward the present-day to look at the current landscape of music notation applications, as well as those that got left in the DeLorean’s rear-view mirror. More on Scoring Notes: A brief history of music notation on computers Other articles on Scoring Notes by Ben Byram-Wigfield Daniel Spreadbury on music fonts: past, present, and future Michael Good, the inventor of MusicXML From elsewhere: Music Printing History How Allegri’s Miserere should really sound (featuring Ben Byram-Wigfield)…
Daniel Spreadbury returns to Scoring Notes to talk with Philip Rothman and David MacDonald about Dorico 4 , the huge update to Steinberg’s scoring software. We learn about the development team’s approach to this update, the challenges an opportunities it presented for Dorico after its release on iPad, and bringing those features and much more to the desktop version as they aim to “supercharge your workflow”. We talk all about the new playback features that are now available directly in Write mode, like the Key Editor, and mixer. Smart MIDI input comes to Dorico 4 and we learn how that works and the benefits it brings to the music scoring process. Engravers also see lots of benefits, too, like the new Library menu and Library Manager, which put a lot of engraving options in one place for the first time and make it easy to import house styles at a granular level, as well as creating templates for the first time. We also each take a turn at identifying our own favorite feature in Dorico 4 and learn what’s next for the future of the software. More on Scoring Notes: Dorico 4 review: Do more with your score Dorico arrives on iPad Dorico and Sibelius come to the iPad The history and future of Dorico for iPad Daniel Spreadbury on music fonts: past, present, and future…
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1 StaffPad audio update, Graphical MIDI Tools, and software licensing 48:06
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Play Later Play Later Lists Like Liked2021 finished strong. Philip Rothman and David MacDonald pick up the news you need to hit the score running in 2022. The StaffPad “audio update” brings new features like audio staves, tempo mapping, adaptive audio to keep your audio in sync with your score tempo, royalty-free production sounds and loops, and studio-quality effects, along with more improvements. A major upgrade is out for Graphical MIDI Tools for Sibelius, which allows the user to manipulate MIDI information in the score in a graphical manner. It has been completely overhauled as an application that runs within Sibelius to provide a piano roll window. We then cover what’s new in the Sibelius 2021.12 update for desktop and mobile, chiefly an easier was of entering percussion music. If your eyes glaze over when reading about the technical but important topic of software licensing, we help by explaining the new systems that Avid and Steinberg rolled out. Their intent is to make it easier for a single user to activate and use Sibelius and Dorico on multiple computers, and we’ll share our thoughts. Finally: a couple of time-sensitive deals on software that are worth checking out before they’re gone. More on Scoring Notes: StaffPad brings live recordings into your scores with Audio Update Graphical MIDI Tools 2 is a major upgrade to the DAW-like plug-in for Sibelius Avid introduces new license activation system alongside Sibelius 2021.12 update Dorico 4, planned for early 2022, will be first Steinberg product to use new licensing system [updated] Steinberg “PSA”: Limited time discounted price for Dorico 4 upgrade path…
We wrap up 2021 with some new year’s resolutions in the form of tips and recommendations. We’re calling it 22 in ’22 in 22’: That’s 22 tips, for 2022, delivered to you in 22 minutes. Philip Rothman and David MacDonald spend a minute on each item, from our favorite apps, web sites, plug-ins, and techniques that we hope help with a “new you in ‘22” — at least when it comes to our favorite topic of music notation software and related tech. The clock’s already ticking, so let’s get the festivities started. David’s items: Scanner Pro from Readdle Use metadata in projects (Backstage area/File tab in Sibelius, Project Info in Dorico) with wildcards, tokens, inserts Change universal settings first (e.g. vertical spacing) Text Styles Use the “real” characters for sharps and flats (Dorico tokens, just copy/paste in other apps) Special Unicode characters Butterick’s Practical Typography Better Touch Tool “Key Sequences” and trackpad gestures to avoid conflicts. (h/t Shortcut Detective from Irradiated software ) Sibelius Plugin: Delete Empty Text Strings Filters Organize files consistently (including file tags) Philip’s items: iPhone/iPad apps in general (Sibelius and Dorico) Tokens for exploiting PDFs in score order (in Sibelius and Dorico) Finale: Document > Page Format (Score… Parts…). Set this and then Redefine Pages in Page Layout tool. You may think that using the Page Size, System Size, and Edit Page Margins options in the Page Layout Tool is the right way… but no… Also, don’t “Scale System” or “Scale Page” to anything other than 100% in Page Format. When to use “Absolute” or “fixed” size for anything page-related (titles, page numbers, headers) Use the “real” dynamics (stylized bold italic mp, etc., not just regular expression text) Make sure you use them correctly! Più mosso. Schirmer Pronouncing Pocket Manual Of Musical Terms (Theodore Baker, ed. Nicolas Slonimsky, Laura Kuhn 5th ed 1995) $8 Kindle, paperback used Keyboard Maestro for Mac; Similar but not the same on Windows: AutoHotKey I have to choose just one plug-in? Run them all with Run Plugins by Name Plugins part 2: Filter Other in Sibelius filters key signature changes, hidden objects, quartertones, and a lot more Please always use running headers (title, page number, part name) on all parts…
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We have a party talking all about part preparation. This is one of our most requested topics from listeners, and we’re happy to oblige in this first of a two-part episode. Philip Rothman and David MacDonald use the parts preparation chapter from Elaine Gould’s music notation reference book Behind Bars as a framework for discussing this essential step in making the best performance materials possible. We start with the staff size, and what’s too small, too big and just right, and how it relates to page size and margins. Headers, page numbers and other labels are next in our discussion, and we explore the best conventions that have developed, and why you need to always have them present. On we go to page turns, multimeasure rests, clefs, and more, and how careful consideration of all those elements contribute to making a quality part. We span the low-tech to the high-tech in this episode — everything from the weight and thickness of paper to where to find the crucial settings in your favorite notation software. You won’t want to part ways with this episode until it’s finished, so let’s get started. Partying with parts, part 2 Behind Bars: The Definitive Guide to Music Notation , by Elaine Gould More from Scoring Notes: Score preparation and production notes Restore the link in File Info fields between score and parts in Sibelius A few brief thoughts about the size of music paper Smarter title pages for parts in Finale Smarter title pages for parts in Sibelius Working with master pages in Dorico, part 1 Working with master pages in Dorico, part 2 How to fix a common page numbering problem in Sibelius Working with page numbers in Sibelius View 2-page spreads in notation software and PDFs Go wild with text wildcards Three quick tips from engraving Copland…
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1 Black Friday deals, discounts, and determination 54:05
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Play Later Play Later Lists Like LikedBlack Friday is upon us once again, and with it comes the annual post-Thanksgiving tradition of deals, discounts, and determination to make the most of your holiday spending budget. David MacDonald and Philip Rothman are here to help find the best offerings for the software most useful to you. We start with music notation software and talk not only about the sales that extend through the season, but also why this is the best time of the year to pick up one of the products you might not already have. We also explore some of the sound libraries that work with notation software and other music applications and the various options available this year. You’ll also want to hear our take on some easy-to-use and reasonably-priced audio editing apps and plug-ins that we think everyone working in music should have in their toolbox, and some special discounts on those that you might not know about. You could end up spending some money when you’re done listening today, but stay with us and you might just save a bundle, too. More on Scoring Notes: Black Friday 2021 deals for music notation software and related tech…
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1 Nicole Jordan, Philadelphia Orchestra librarian [encore] 58:11
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Play Later Play Later Lists Like LikedNicole 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, in the right place — a crucial function in the fast-paced world of concert production. Nicole tells David MacDonald and Philip Rothman about how she got started as an orchestral librarian, from her early days as an intern to her current position at one of the world’s leading orchestras. We discuss the role that music notation software has in her work, and how it was essential in helping her nail the biggest audition of her career. Then, Nicole reverses roles on the podcast and asks us about our software recommendations and gets our advice for people who are just beginning their technological journey. More on Scoring Notes: An interview with librarian Lisa Dempsey Kane The best iPad score reader for most people Score preparation and production notes…
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1 Marie Chupeau and the human side of Newzik’s artificial intelligence 49:27
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Play Later Play Later Lists Like LikedMarie Chupeau joins Philip Rothman and David MacDonald to discuss Maestria, the technology from Newzik that allows it to not just display a score, but also to understand it musically, resulting in what’s known as a LiveScore. Marie is the co-founder of Magic LEMP, the company that has worked for several years on the artificial intelligence technology that powers Maestria, and she is the head of the research and development team for the optical music recognition, or OMR project. In our discussion, Marie tells us about how she started working on the Newzik project in the first place, and how her vast and impressive background in music and physics led her to tackle the complexities of music notation. She discusses how Maestria uses AI and aims to differentiate itself from other OMR applications by harnessing the power of AI and its algorithms to refine its results over time. We then talk about the practical use of Maestria in Newzik’s LiveScore feature, which enables a user to take an engraved score and turn it into a score that can be played on an iPad or in a web browser, or eventually exported via MusicXML to other software. Finally, we discuss the challenges the technology faces and the opportunity it provides for refinement in the future. More from Scoring Notes: Newzik Maestria review: The score reader that promises to read scores Newzik introduces interactive LiveScores with Maestria, AI-based optical music recognition…
Philip Rothman and David MacDonald talk about the news that Fender has made plans to acquire PreSonus , and dig up an interview with Jim Boitnott from the Scoring Notes archive. Jim gave an interview to Scoring Notes in 2019 in which he presciently described both the importance of playback to music notation software as well as the future of those applications on iPad, and how Notion was early to market in both respects. We play that brief interview, which took place at the 2019 NAMM Show, and then put the news of the week in a bit of historical context and look at the larger picture of music notation and audio applications in light of current developments in the field. More from Scoring Notes: Fender acquires PreSonus NAMM 2019: A “Notion” of music with the 6.5 update and more Notion iOS 2.5 and Notion 6.6 desktop updates released Sibelius arrives on iPad Dorico arrives on iPad…
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1 “Playing” with notation software, part 2 of 2 55:43
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Play Later Play Later Lists Like LikedThere are lots of ways you can manipulate a notation file for playback purposes. Philip Rothman and David MacDonald continue a two-part discussion about playback and music notation software, and share the tips and tricks we’ve learned over the years to make the most of the programs’ capabilities. We talk about general concepts common to many applications, like score setup with separate staves for playback and notation, and how you can apply these concepts to everything from a Bach cantata to jazz rhythm charts to get music that both looks and sounds its very best. Speaking of rhythm, we drum up a discussion about percussion maps and how they roll, and we apply the concepts of expression and articulation assignments to other instruments. We look at some specific features in each of Dorico, Sibelius, and Finale, and finally wrap it up by visiting StaffPad, which might just be the best of all the options when it comes to marrying the score to the sound in a notation software app. More from Scoring Notes: “Playing” with notation software, part 1 of 2 Inside the “Scoring Notes” theme Manual staff visibility in Dorico Graphical MIDI Tools plug-in brings sequencer-like capabilities to Sibelius NotePerformer 3.1 update: Big improvement with Finale integration StaffPad acquired by Muse Group; audio support planned StaffPad demo video: An evening with StaffPad…
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1 “Playing” with notation software, part 1 of 2 52:24
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Play Later Play Later Lists Like LikedThe applications we talk about on Scoring Notes have had playback capabilities since their earliest days. But because these programs are so attuned to the visual elements of music notation, layout, and page formatting, their audio components can often be overlooked. Philip Rothman, and David MacDonald have the first of a two-part conversation about playback and music notation software. We first discuss why it’s important for programs like Finale, Sibelius, and Dorico to have good playback features in the first place, and how you can make use of playback when you work in the software as a composer, teacher, or music preparer. Then, we review the different types of sound options available in the software — everything from basic MIDI sounds to the most expensive studio libraries. Then, we conclude this part by talking about what you need to do when setting up your mix so that you get the best possible results, as well as how to export everything to a digital audio workstation for further fine-tuning. More from Scoring Notes: “Playing” with notation software, part 1 of 2 The “rite” way to copy old scores into new software Dorico and The Rite of Spring The [COMPRESSED] history of mastering…
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1 How to upgrade your computer and live to tell about it [encore] 25:43
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Play Later Play Later Lists Like LikedIf you have trouble keeping up with all of your computer operating software updates, new hardware, and naming conventions, you’re not alone. Philip Rothman and David MacDonald will walk you through tips and best practices when it comes time to click that big button, whether it’s the one that says upgrade your operating system or the one that debits your bank account and results in a brand-new computer, and the steps you should take to ensure that everything goes as smoothly as possible. Our advice extends to all our listeners — both those that have imbibed the Apple juice and those that are opening Microsoft Windows. While this episode is mostly an encore presentation from when the Big Sur macOS operating system was released, we begin the program with a few thoughts about Windows 11. More on Scoring Notes: Music notation software and Windows 11 Music notation software, macOS Big Sur, and Apple Silicon M1 Macs Backup with Backblaze and get a free month…
Jonathan Newman is back for the second part of his two-part conversation with Philip Rothman, discussing everything from the profession of music copying to the importance of education. If you didn’t hear the first part, have a listen as Jonathan recalls his early days coming out of school and making ends meet as a copyist, becoming an expert in music notation software. In this part, Jonathan emerges from the copyist wilderness and gets back to composing. He tells us about his decision to self-publish his music, what it means to be self-published, and how to do it. From there, we talk about the inception of BCM International, a collective of like-minded but stylistically different composers who had a mission to write wind band music that was different than anything anyone had ever heard before. We discuss the educational importance of introducing young instrumentalists to both the repertoire and the composers that write the music, and Jonathan’s days touring the globe working with student ensembles at all levels. Finally, he parlays that into his current role as an educator himself, bringing both his academic and practical knowledge to bear in working with the next generation of students. We bring it all home to Scoring Notes and how — and how not — to work with music notation software as young composers find their own compositional voice. Photo: Tina Krohn More from Scoring Notes: Jonathan Newman, part 1 of 2…
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