Tag Archives: sibelius

Opening up an orchestra

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Last Sunday we had loads of fun at the first of the Auckland Philharmonia open days for 2012.

We were at the Bruce Mason Centre in Auckland and you would have found me in the “meet the composer” room. Loads of people came through and some came back three or four times as they had a new idea to add to our “Open Day” composition.

We talked about what composers do and how our ideas make it to the orchestra’s music stands. Many people had a go on Sibelius and were blown away at what it can do and what we could do with their musical ideas.

THIS SUNDAY we do it all again:

“Meet the APO and hear all the instruments, in a fun family day. Hear us rehearse and perform excerpts from Beethoven’s famous Fifth Symphony, join in activities to make simple percussion instruments, listen up close to individual players and hear the 200 strong chorus taking part in Sing with the APO. The orchestra and ensembles of APO musicians perform throughout the afternoon.”

TelstraClear Pacific Events Centre, Manukau, free admission. Click here to find out more details.

Come down and say hi, I look forward to seeing you!

Working on workshops

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It has been an enjoyable start to the year presenting some workshops around Auckland.

“Sibelius in education” – professional development day

On Friday 24th February I had the first session at a professional development day for secondary music teachers. We looked at how to use Sibelius effectively in education and checked out all of the features that are going to help both them and students use the program to its potential. The next two sessions were by Philip Norman, looking at the life and music of Douglas Lilburn and a session on composition titled “Composition can’t be taught… but techniques to help it on its way can”.

“What’s new in Sibelius 7 and education feature supercharge” – Faculty of Education

On Wednesday 15th March I worked with the new music teacher graduates at Auckland University’s Faculty of Education. They had learnt Sibelius on version 6 so before they headed out in to the schools we looked at what was new and different in version 7 and also checked out a number of the fantastic education features that makes Sibelius a joy to use in the classroom.

The next composers… – secondary schools

I have also been working at two secondary schools with composition students. Developing their own compositions as well as workshops on string writing and developing an idea through a composition.

“Meet the composer!” - APO Open Day

On a related note, coming up this Sunday is the Auckland Philharmonia Open Day and you’ll find me in the “meet the composer” room. Find out what composers do and how our ideas make it to the orchestra’s music stands; try out the Sibelius notation software and add your ideas to our “Open Day” composition – see you there!

Photo courtesy of www.apo.co.nz.

iOS apps for music professionals

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iOS (iPad and iPhone) apps. They are often enough to quite simply blow your socks off! There is one for pretty much anything, especially with music. In June and September 2010 I wrote two posts titled “iPhone/iPod Touch/iPad apps for the music professional” – be sure to check out those posts here and here. Eighteen months on I think we should see what apps have stood the test of time and what the new ones are on the block.

As with the two posts from 2010, these are apps that (I hope) are genuinely useful to musicians, music teachers and other music professionals. Buckle yourself in, here we go!

RECORDING

FiRe 2 - the industry-leading field recorder was fantastic first time around, and now it is even better. It is not waiting for you to record your first album, but for basically everything else it has you sorted. It now has super easy editing tools, EQ, dynamic effects, dropbox integration and much more. I use it to record ideas, music lessons, workshops with performers, performances – a very fine app.

GarageBand - covers two bases. Firstly, you can record music either by playing on the device or recording from an external source, then even take it to GarageBand or Logic Pro to continue work if you wish. Secondly, you can perform on a variety of instruments (including strings now!) and even jam with your friends via bluetooth. Gone are the days when you would need an app for every instrument.

GENERAL TOOLS

Dr. Betotte TC - one of the few metronomes powered up for the music professional. Packed with features, including rhythmic divisions that have their own volume sliders, one click halftime feel, options for swing tempo, you can import your own audio samples and it can gradually step up and down. This is one of my absolute favourites.

Stay In Tune - is a wonderfully clean and versatile tuner – fantastic for all general tuning. It has a good range of instrument presets for noisy environments or unfamiliar instruments. I should also mention Cleartune which is incredibly precise – ideal for string or other orchestral instruments.

NumPad - if you only have a laptop or bluetooth keyboard, with this app you can add the keypad on to it. It took me a while to start using it, but it is actually really helpful. There are several keypad view options (to match your main keyboard) and there is no delay when in use. A lifesaver for those who usually use the keypad in Sibelius but then find themselves without it.

REFERENCE

Backline Calc - is a musical calculator and in my original post I said it was “perhaps the last app you would think about looking for, but once you have it you’ll realise how handy it is”. Perhaps I use it more for fascination rather than actual need but a very clever and interesting app.

Oxford Dictionary of Music - this well respected resource is a very nice app, essential for those who regularly reference terms and definitions. You may also be interested in the Oxford Companion to Music.

Guitar Toolkit - a very popular app for guitarists with some great tools. I want to specifically mention its incredible library of chords, scales and arpeggios (and with alternate tunings) for not just the guitar but also the 7-string and 12-string guitar, 4-string, 5-string and 6-string bass, banjo, mandolin, and ukulele. For someone who is far from being a natural guitarist but who has one, plus a mandolin and ukelele, it’s a very well used app.

TEACHING

Karajan® - a very helpful music and ear trainer from beginner to advanced levels. You can learn, practice and test intervals, chords, scales, pitch, tempo (bpm) and key signatures. Audio can be piano, guitar (nylon and steel string), bass and organ, so users can be in their comfort zone. Great for students developing their ear, and I am even partial to an exercise now and then!

Nota for iPhone (Nota for iPad) – where Karajan is for developing the ear, Nota is for developing the mind (theory, musical knowledge…). Explore notes, chords and scales on the piano or the extensive reference library covering articulation, accidentals, breaks, chords, clefs, dynamics, key signatures, lines, notes, note relationships, note durations and rests, repetition and codas and time signatures. I often set the quiz up for students if they are early for a lesson!

MSO Learn - many young musicians are curious about orchestras – what instruments play in them, how they work… MSO (Melbourne Symphony Orchestra) Learn is a beautiful app which lets you explore the orchestra – the different instruments, where everybody sits and the specific music each section and instrument plays. For example, it plays a full orchestral piece and shows the full orchestra, click on the woodwind section and you’ll get a layout of woodwind instruments and just they will continue playing, then click on a specific instrument and just hear that instrument and an explanation of it. Such a wonderful resource.

BONUS

Avid Scorch (iPad only) – no longer do you need to take huge amounts of music around with you, store and read it all on your iPad. Even transpose it or view the score or different parts if you wish. If you’re interested in this, check out my recent blog on this topic.

SoundCloud - of course SoundCloud is a dream come true for many of us musicians, with the ability to safely store and share your music online. The latest version of their iOS app is quite special – with excellent functionality and beautiful interface. Have all of your music available for sharing while on the road or use it to push your music out elsewhere on the web.

There we have it – some of my most used and most helpful iOS music apps. Who knows what is coming next!

Digital music stands vs iPads

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In May 2010 I wrote a post about digital music stands (or electronic music stands) and what looked like a fantastic new product that very soon would be widely used. 22 months on, the development has been very average and so I thought we should look at where things are at and if other devices such as the iPad are becoming more common and viable for musicians.

In that original post, I mentioned that there were two ways you could go about it: either purchasing the software and the hardware in one device (MusicPad Pro, Same Page Music) or just the software to run on your own monitor or device (MusicReader). I also mentioned the eStand which (now) has both hardware and software options available.

There have been several advancements to all products, in particular to the Same Page Music device which has (sadly, I think) morphed into an overly complex and overwhelming array of features, as can be seen in these two videos: video one, video two.

To me, all of the options mentioned above still seem very unattractive – they don’t have user-friendly interfaces or ease and practicality in mind. Have a look at this promo for MusicReader:

You may have picked up on two major flaws. Firstly, the conductor for the wind ensemble had to have his device on an office desk, not a music stand. Secondly, on the floor of most ensemble was an array of cables, power boxes and so on. So, on stage they are not very practical, they take a lot of setup time and are still, generally, bulky.

In an industry where technology is moving incredibly fast, 22 months has not seen much development at all with digital music stands. Why is this?

Hello, iPad.

I don’t want to preach Apple just for the sake of preaching Apple, but let’s face it, so many musicians have iPads and there is a reason for it. They can have everything in one place, communicate with ensemble members, connect with fans – the list could be huge – and also they can have all of their music in one place. Yes, you can have all of your music stored on digital music stands of course, but you’ve probably got an iPad already for a multitude of other reasons and view and organise your music on the plane, at a cafe, wherever. On stage, just click the iPad in and you’re ready to go – no power to worry about, no cables to trip on – a separate device seems quite unattractive, doesn’t it? I think for a musician, the thought of taking another monitor or similar device to read music from would a be real burden.

This, I think, is why those standalone digital music stands that looked so exciting a few years ago, haven’t taken off like many of us assumed. As of 31 December 2011 there were over 55 million iPads sold – that’s a tough market to try and break.

Using your iPad – there are two types of apps. The first are PDF readers where you can do a lot of editing of the meta data and draw on scores etc, but you can’t actually change the music:

  • MusicReader – I mentioned MusicReader in my original post and it is still a versatile piece of software, as it can be used on Mac and PC too. They have proved themselves over the years and it allows you to draw, highlight and write on a score, but to be honest the interface is pretty rough.
  • Perform – a nice app with good features for adjusting how the score scrolls. On the pro version, it can listen to where you are and will scroll accordingly. It can also make a video of you performing – if you like that sort of thing!
  • forScore – has a beautiful interface and nice range of features. It has the forStore where you can download a lot of music or you can even download PDFs from your Dropbox account. Some nice features like thorough editing of the score, a metronome and ability to play an on screen piano.

The second type gives you more flexibility with the music:

  • Avid Scorch – once your music is in Scorch, you can transpose by interval or key. If you have a score, you can view the actual score or individual parts and change between transposed/concert pitch. You can play it back and use the mixer to adjust levels if desired.
  • Finale user? – MakeMusic have announced they are bringing out an iPad app in May. Its features seem very similar to Avid Scorch. If you’re interested, check out this video posted on their blog a few days ago.

For a daily user of Sibelius and having around 1,000 .sib files, the possibility of growth with these apps is very exciting.

If you are using an iPad, or considering one, these two devices will make you very happy indeed. The first is a product called TheGigEasy which makes it easy to mount your iPad in any environment. Check out this video:

This is a wonderful product, and I think, considering it was named by USA Today as one of the five ”Hottest Products” at this year’s NAMM Show, indicates how widespread iPad use amongst musicians really is.

You may be wondering about page turns. Well, the second device, AirTurn, is taking away any worries in that area. In fact, it works via bluetooth so works with any iPad, Android, Mac or PC device. Check out the video below:

You may also be interested in this video of classical violinist Ray Chen talking about his use of the AirTurn and iPad.

So, digital music stands, I don’t think, are proving themselves as great options for musicians, whether classical or contemporary, amateur or professional – not when tablet computing is moving at such a fast pace. Maybe in another 22 months we can have a look at this topic once again – who knows where we will be then!

Thoughts, experiences and links are most welcome.

2011 through the eyes of a blog

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And just like that, another year is gone! Here is a look at my posts for the year.

The blogging year started in March with my favourite book arriving, “Behind Bars”, which I preordered in 2010. It is definitely the most used book on my shelf! I then talked about two approaching projects:

In April I introduced my new work, “blimp”, and reviewed two projects – a song I helped a friend create and my work at the BOP music school:

May was a busy month, so in June I talked about what I had been up to – writing 31 microscores and the premiere of “blimp”:

In July I posted the video I worked on with Sideways Productions:

In August and September I covered my involvement in the KBB Music Festival and some composition tutorials that I held in Kerikeri:

October was the kick off of the Rugby World Cup here in New Zealand, I talked about my involvement in the opening ceremony and also made a post about what exactly I do when “preparing music” and why you would need someone like me to do it:

December means Christmas and I posted some Christmas carols that I prepared for my students. I also composed a new “holiday” piece for my Christmas post:

Happy New Year everyone, bring on 2012!

Music preparation – what and why!

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I often talk to people who are surprised at the types of music preparation jobs that can be done, so I thought I’d dedicate a post to talking about my work as a copyist and what I can do for you!

Why do people need someone else to prepare their music? Can’t you just do it yourself? What do you pay for?

  • Expertise. Those experienced in music preparation have the eye to prepare beautifully clear and accurate music, and the ability to spot and resolve potential issues prior to it being rehearsed or performed. They also have extensive knowledge of theory and notation, the styles and conventions of different genres and specific requirements of different orchestras.
  • Meeting a deadline. Music preparers often get the music incredibly late (or be working on the start as the composer finishes the end!) and a deadline has to be met. Just recently I worked through the night to prepare the score and parts for a piece and a couple of hours later it was being rehearsed in Paris.
  • Efficiency. With extensive software knowledge, work can be done considerably faster and without hassles.
  • Assurance. You can pay many thousands of dollars to have musicians sitting there ready to record your music, or you could have worked hard for many years to have an orchestra perform it in a concert. Whatever context, when the players sit down or the conductor studies his score you need the assurance that everything is clear, accurate and very simply – it must work!
  • Ability. Many composers still write by hand and then pass it on to be prepared. Likewise, many composers and musicians don’t know how to write notated music, and will pass on MIDI files from other software to be notated.
  • Independence. To publish your music, traditionally you would have had to pass your music over to a publisher to have it expertly typeset and prepared. But you would have had all of the commitments of having a publisher and would only get a fraction of sales. Now, with composers having their own websites, people are publishing themselves and just need their music expertly typeset, edited and proofread – that’s where we come in.

What sort of things can be done?

  • Typeset music from handwritten manuscripts (or scribbles!).
  • Edit and/or proofread music that is already set.
  • Prepare instrumental parts – sometimes just as PDFs and emailed, other times I can provide the library service where I will print/copy and organise/distribute the parts at rehearsals/recording sessions.
  • Singers often need their pieces in a different key – I can transpose these with a very quick turnaround.
  • Tidy and typeset music from programs such as Logic or Pro Tools, adding all of the dynamics, articulation and other technical considerations.
  • Recreate a missing orchestral score from the instrumental parts – can be a lifesaver!
  • Transcribe music from audio.
  • Create reductions of larger scores – such as a rehearsal piano part for an opera.

How did I get in to this?

When I was studying composition with Anthony Ritchie at Otago University, he asked me if I would be interested in setting a set of Christmas carols composed by his father John Ritchie. I loved it, and gradually discovered that this area could in fact be a career in itself.

Kicking off the Rugby World Cup 2011

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The biggest sporting event to ever hit New Zealand is this year’s Rugby World Cup. It has been a massive success and we eagerly await the final tonight between New Zealand and France. The opening night was an amazing showcase of New Zealand and I was super proud to be involved.

Victoria Kelly was the musical director for the opening ceremony and invited me to do the copying work for all of the new music. She was writing in Logic and sent the sessions to me (via Gobbler, I LOVE Gobbler) to bring through to Sibelius where I prepared the scores and parts – tidying notation, adding articulation, dynamics and everything needed to make beautifully clear music. In three days I made:

  • 39 scores
  • 116 instrumental parts
  • 525 copies of those parts ready for the players and conductor
Here is everything on my floor, proofread and re-proofread, sorted and re-sorted, and ready to be packed up.

RWC typesetting August 2011 4

I then went to the recording sessions at York Street Studios and made sure there were parts on the stands for the beginning of each session with the Auckland Philharmonia.

What a joy!!

An exploration “Behind Bars”

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A few days ago, “Behind Bars”, the new book by Elaine Gould, arrived in the post. Have I ever been so happy for a book to arrive? Probably not. Have I had a spring in my step ever since? Possibly. Have I taken it to bed to read most nights? Unashamedly yes! Did my heart warm when I read a few lines of the index? Indeed. Is my excitement justified? Absolutely.

“… an extraordinary achievement… I would pray that it becomes a kind of Holy Writ for notation in the coming century…” - Sir Simon Rattle

Behind Bars

It is subtitled as the definitive guide to music notation and is already regarded as the most comprehensive authority on the subject. The brochure (see PDF link below) sets the scene well:

“Behind Bars is the indispensable reference book for composers, arrangers, teachers and students of composition, editors, and music processors. In the most thorough and painstakingly researched book to be published since the 1980s … it has never been more important for musicians to have ready access to principles of best practice in this dynamic field, and this timely book will support the endeavours of software users and devotees of hand-copying alike … Supported by 1,500 music examples of published scores from Bach to Xenakis, this seminal and all-encompassing guide encourages new standards of excellence and accuracy.”

It has been thirty years since the last major book on music notation. Practices have changed hugely since then and so the need for such a book is well overdue. Elaine talks about the development of the book, which started in 1990, in this great interview on the Sibelius Blog.

The book is divided in to three sections 1) general conventions, 2) idiomatic notation, and 3) layout and presentation. My favourite parts are probably some of the insights in the idiomatic writing sections, such as writing for the classical guitar. Also, the sections on notating electroacoustic music and on freedom and choice – cadenzas, ad lib. passages, independent repetition and so on – as until now there has been no authority on these areas. The cross-referencing is super effective and seamlessly done, and because it is so concise I know it will be the go-to book for everything I do for many years to come.

“With the explosion of music publishing software in recent years, the need for authoritative guides on music notation has never been more pressing. … Elaine Gould’s book is bound to be a hallmark of best notation practice. I fully imagine it will become the bible of music creators everywhere.” – Matthew Hindson (Australia)

When typesetting and preparing music there are hundreds, often thousands, of decisions that are made. Taking time to think about each one and not having a definitive answer from today’s music prep standards can be very time consuming. The confidence that each of the 704 pages will provide is priceless.

“We have all been eagerly awaiting Elaine’s monumental study. Those who have had as many years of her editorial guidance as I have will concur that she is clearly the one person with the requisite breadth and length of experience to render a balanced and penetrating view of the chaotic world of notation as it currently exists.” – Jonathan Harvey (UK)

If you are interested in reading further, see the promotional brochure here (PDF), the website here or the article I mentioned above here. Or, just order your copy!