Nicholas Buc is a composer, conductor, and arranger whose recent conducting engagements have taken him around the globe conducting live-to-picture concerts featuring the most beloved movie scores of our time. We discuss his career and the many ways that music preparation and technology can provide the score with the Midas touch in those high-stakes performances. Nick helps us avoid the phantom menace of notation pitfalls, giving us all a new hope in our quest for the holy grail of music engraving perfection. Philip Rothman and David MacDonald join Nick as we learn what it’s like to be part of his world.

Read more on Scoring Notes: Preparing David Newman’s Matilda score for live orchestra

Nick’s podcast: Art of the Score

Newzik started in 2015 as a music reader solution for iPad, and since then it has grown into a complete digital solution that serves musicians, publishers, orchestras and opera companies. CEO Raphaël Schumann discusses its recent developments and its bright future after raising €3 million in private investment.

How do you technologically revolutionize the long-established custom and practice of working with printed music that has been evolving for centuries? Cloud sharing, collaboration, and licensing are just some of the areas that Newzik must navigate as it continually innovates, aiming to make a seamless transition for customers to read, share, rent, purchase, and sell sheet music on digital devices.

For decades, Emily Grishman has been one of Broadway’s most sought-after copyists, and her list of credits includes the most acclaimed music and theatrical productions. We talk about her career and how the means and manner of producing music has changed along with advancements in the music notation software she uses every day. Come along with us as we learn what Emily has to say about the world of music copying, the process of getting the music from the composer’s pen to the player’s stands, and the tools she uses to achieve superior results.

Plus: the secret to being an expert in your music notation software of choice, everything you ever wanted to know about bar numbering schemes… and what not to do when working on a horror film score.

Further reading: Emily Grishman on Maestra Music

Photo credit: Jamie Maletz

We explore the latest updates to Dorico and Sibelius. Dorico 3.5 introduces pitch-before-duration input, figured bass, a line style editor, graphic slices, and much more, while Sibelius 2020.6 brings a more advanced MusicXML import method and a number of accessibility enhancements. Plus, an answer to the age-old question: When should you take the plunge and update your software? Philip Rothman and David MacDonald discuss.

Read more on Scoring Notes:

Dorico 3.5 review

Sibelius 2020.6 review

Scoring Notes Product Guide

Philip Rothman and David MacDonald discuss the essential elements of score preparation and production that make a difference in not only the perception of your music, but how it gets rehearsed and, ultimately, performed. Everything from rehearsal marks, placing cues, laying out your music, and page layout can be expertly fine-tuned by music notation software — but only if you know what results you’re looking to achieve in the first place.

Learn more: Score preparation and production blog post on Scoring Notes, with lots of links to other posts about how to achieve results in notation software.

Philip Rothman and David MacDonald officially inaugurate the Scoring Notes podcast. They reminisce about how they first got hooked on writing music with notation software, how they eventually became fascinated by the ever-changing developments in the programs and in the field, and why so many student compositions have a tempo of quarter note = 100 bpm. Also: The brief history of the Scoring Notes blog.

Steinberg product marketing manager Daniel Spreadbury talks with Scoring Notes about the Dorico 3.5 release. We learn about pitch-before-duration input (a.k.a “Speedy Entry”), semantic figured bass notation, VST expression maps, and what a “graphic slice” is. Also: Daniel talks about what it’s like creating music notation software in the middle of a pandemic, and we find out his personal favorite feature in this release — even if it’s obscure.

Read more: Scoring Notes review of Dorico 3.5