If you are a Finale user who hates mass repetitive tasks, you will find much relief in even the simplest of scripts in Finale Script. For example, I wanted to create a cover page for each part for my orchestral piece in order to make things look good for the players (every little bit helps, […]
Read MoreMonth: August 2011
Tool #10: Additive Processes
In this post I’d like to go back to an idea referenced in Tools #3 and #3.1: generating a list of techniques for motivic development. One such technique is actually a technique with a large standalone reputation, especially in more modern/postmodern music. This technique is the “additive process”. Some pieces are additive processes alone. Frederic Rzewski’s […]
Read MoreTool #9: Logic 8 in Mac OSX Lion Compatibility
Just a quick post about getting Logic 8 to run in Mac OSX Lion. After the upgrade to OSX Lion, Logic Pro 8 won’t run. To the best of my knowledge, this isn’t because it is inherently incompatible with OSX Lion, but rather because Apple doesn’t want you to use it in Lion for some […]
Read MoreTool #8: Artsjournal.com
Staying informed and active in the artistic community is a great tool for success professionally and artistically. Part of this includes keeping current with the issues, happenings, trends, and opinions of our society nowadays. So, today I’d like to introduce a cool online arts newspaper. I first heard about it at The Hartt School in […]
Read MoreTool #7: The Pre-Apex Drop
Many composers, musicians, and music lovers enjoy the forms brought about through tension and release. The thrill and excitement of creating emotions and drama, all building up to a climax that is then resolved is about as natural–and human–as it gets. The theme of tension and release governs both the natural world and our lives. In […]
Read MoreTool #6: Some Basics on Writing for Guitar
Guitar is one of the first frontiers for some composers, and one of the final frontiers for others. Most of the people who write a lot for guitar (in my experience) play it or have studied it extensively. Others have a hard time getting started, because it is so foreign to composers who don’t play […]
Read MoreTool #5: Orchestrating Those Low Frequencies
After Tool #4’s drier atmosphere, I figure it is time to return to more savory compositional topics. I’d like to talk about muddiness, darkness, and low frequencies, particularly relating to low-frequency-producing instruments. As we orchestrate as part of composing, we often might want a clear, intelligible sound from our large ensemble writing. (Unclear, unintelligible sound […]
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