Behind the Notes

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Pictured clockwise l. to r.: Stephen Dunstone; Jodi Ann Tolman; Isabelle Frouvelle; Maurice Draughn; Tony Robinson; Maggie Lovell; John Wickey; Rhett Barnwell

There is much more to note-setting a piece of music than meets the eye, and Sibelius and Finale aren’t the only players in town. We asked some arrangers to share their notation wisdom.

Ed.—this article extra is part of the feature article Simplifying Sibelius in the May-June 2019 issue of Harp Column.

“I started typesetting back in 1999 with an early version of Finale. I switched to Sibelius soon after and never looked back. I’ve been using Sibelius for nearly 20 years now.”

Hot tip: “Sibelius will do pretty well anything you want it to, but you might need to explore its hidden depths.  Go into every menu and experiment with the options, and don’t ever let yourself be defeated—there will almost certainly be a way to present your score in the way you imagined it.”

Published works: 57 titles with more on the way

On deck: Several new books for young beginners to help learn to read music, play by ear, and understand simple harmony

—Stephen Dunstone, Oxford, England


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