I am interested in a wide variety of music, although my own tends towards modernism. I grew up on jazz and pop music of the 1970s, but was blown away by Stravinsky, Bartok, Shostakovich, Lutoslawski, and Penderecki while in college. I haven't looked back since. You might hear all of them in my music, as well as others, especially if you listen to my fourth symphony, which I just finished the first draft. It's posted on my YouTube channel, but I'm still tinkering with it. I'll post a link when I'm totally happy with it.
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"In Sibelius, I often create a playback score, although recently I haven't needed to. With NotePerformer I can get a high quality playback without having to resort to going to a DAW to create a playback. Those days when you go to a music store to…"
"These days, it is mostly parts. Composers don't want to do their own parts, and many don't know how. Many are keyboard players, and don't know what orchestral or band players need - how much time, how many cues, what cues ...
When Finale first came…"
When Finale first came…"
Right now, I earn my living setting music for pubishers, mostly parts. I need to use whatever software I am told to use. At the moment, composers are sending their scores to the publishers mostly in Finale and Sibelius, but with the recent sunset of…
"Thanks, Ivor. There is more. My blog has a link to the first version of the entire symphony; there is a link earlier in this thread. I have also added it to my music list, and that is (I think) the final version."
"I haven't looked at them seriously. My upgrade has sent me way over budget, and they would probably mean venturing into DAW-land. The ones I have are all old versions, so that would mean more expenditure and lots of time learning how to use it…"
"I built my own desktop, and the upgrade was more like $1200. I probably could have built the whole computer for about $1400, but I was able to save a few things. A laptop that would run it would be prohibitively expensive.
I've been working on a…"
I've been working on a…"
"I think they kept the solo strings for the Pro version to make more people switch up to it. That was what swayed me. Unfortunately, you need monster hardware to run it. I could barely use it until I gave my computer a major upgrade. I still can't…"
"I think it is important that we do. Long ago I ran a Ning forum (when it was free), and I found that spammers were a never-ending battle. I had a whole series of questions, but no approval process, and I kept getting answers of "." or "0", which got…"
"He is apparently working on it, according to the last email he sent me."
"Wallender says that pitch-bend glissandi isn't the way to go. They are looking for another solution for NPPE. NP4's native solution sounds better. (I can't remember what they called it.) One of my pieces has a really wide glissando, and it just…"
"I have seen her profile on other NING forums. One is blank, another promotes hcg injections = spammer."
"Wow, Mike. Thanks for your comments. Concerning the mock-up, one of the things that I did while composing this piece was write to the strengths of the NP/BBCSO set up. There are some things that don't sound well, and I'm trying to work out solutions…"
"Actually, it appears that you can onl change your own page. It isn't site wide."
"Members whould be made aware that they have a certain amount of control of the theme of the site. I find the light blue links hard to read on a gray background, so I've turned them yellow. It seems that not all of them have changed, but many have.…"
Bio
I'm a composer of instrumental music, including 4 symphonies, a suite of dwarf planet miniatures (Far From the Fading Light), concertos for piano, violin, flute, and euphonium, 5 string quartets (the fifth won 1st Prize, Robert Avalon International Competition for Composers 2021), as well as a host of chamber music.
I'm am transitioning from teaching at CCM in Cincinnati toward full-time freelancing as a music engraver/typesetter, which I have done since the early 1990s (full time until 2012, when I returned to teaching). My octet, Labyrinth, has been recorded and should be (finally) released this spring, if not before. The BIS recording of my reorchestration of Per Nørgård's Helle Nacht (Violin Concerto No. 1) was critically acclaimed, although I wasn't credited on the recording, and the Grammophone reviewer thought the arrangement was done by the composer:
Herresthal plays here the reduction for chamber orchestra Nørgård made at his suggestion in 2002, which gives the music an extra transparency that proves even more beguiling than the original, which is accordingly not directly comparable.
