Have you ever listened to an episode of the Scoring Notes podcast and wished you could ask a question directly on the show?

Two years ago, we opened up the phone lines directly, so to speak, and they were jam-packed! So much so, that we ended up devoting three episodes to answering those burning queries. You can find Part 1, Part 2, and Part 3 in the podcast archives.

Well, time and technology moves fast, so it’s time we do it again. Whether you’re a “long-timer” or a “first-timer”, all are welcome 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 an upcoming 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 [email protected]. 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.

Send us your question no later than Monday, July 14, 2025.

The rest of today’s episode is a classic one from March 2023, and perhaps it will spur some new questions.

Sometimes 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:

Apps and fonts we talk about:

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

Steinberg’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

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.

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

Twenty Thousand Hertz is produced out of the studios of Defacto Sound, and hosted by Dallas Taylor.

If 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:

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:

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 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:

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 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:

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

Twenty Thousand Hertz is produced out of the studios of Defacto Sound, and hosted by Dallas Taylor.

Art by Divya Tak.