To describe the myriad undulating waves and reflected/refracted lights, I adopted Chaos and Fractal theory to create various series of numbers which make the multiple periods of repeating cycles these are called as attracting periodic fixed points. The music mainly depicts the image of lotus under the moonlight on the rippling water. Lotus on Dense Orbit for piano and computer-generated sound was composed during the spring of 2012. Some of my film composer colleagues here in Norway previously used Sibelius for that kind of workflow, and are now moving into Dorico.Ciminelli Hall, Eastman School of Music, Rochester, US, Oct 2011 In that case, I think Dorico indeed could work as a highly creative tool where you could do the whole process (especially coupled with NotePerformer for the most realistic playback of all the hairpins and playing techniques). If that means a full orchestra or only a couple of studio musicians varies from project to project, budget and time constraints Quite sadly, these days the whole score might end up as 100% sample libraries, but that is another debate…īut I guess what you’re saying is that you have a notation background and not very much a DAW background. But I only notate the parts that will actually be played by real musicians. Then I use Dorico to translate that into readable music (I have never actually used Cubase’s own score editor). So to me, Cubase is the creative tool where the ideas are transformed from my head and onto music. I still compose by ear, first and foremost. I am one of those “in the middle”, who has had music education, but notation or reading music is still not my strongest side (also because of my ADHD, to be fair). This process is of course different for every composer, often depending on what “school” you are from, and how your head works (a highly individual thing!).
Therefore, I mould the compositions in Cubase first, and then move to Dorico when I need to create scores for the live musicians. In the notation software, the goal is of course the opposite - to take the performance and make it readable to another musician.
Because the slight imperfections in timing might be exactly what makes the performance work. When I track MIDI from VST sample libraries, I focus on how it sounds, with no thought at all on how it is notated. I think scoring software and DAW software have different roles. Hello there! I am a composer working with music for theatre, film and television.
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