dremits

Ok then. So you some of you are divided then eh?

Hi Justin Thanks for your advice. I've been looking around the IMSLP so i'll start paying particular attention to the orchestration. Thanks.

Ok then well thanks for the advice.

What an excellent project. Such an invaluable resource.

Thanks for the advice Bolanos. I think i'll loan all these books from the library where possible and then purchase the ones I favour. I think it's also a case of continuing research online as well. But thanks so much guys, will definitely look further. Oh and jujimufu, i'm sorry for posting a thread that is similar to others and, ok, I can't blame you for thinking this thread isn't unique so I apologise - I'll make sure I do a through search next time. I just think your response was unnecessarily patronising and a little rude. But hey i've been on enough forums to know that new guys who come across as being ignorant to forum rules are annoying, so, sorry. EDIT: Also: although, as I said, I would look into the books mentioned are there well thought of recent books that aren't outdated as well?

Thanks to jujimufu but I know how to use the search function but was asking a little more specifically for me. So I take it your the arrogant smart arse around here then? But thanks to the genuine suggestions. Really appreciated. Thanks,

Thanks very much. Very useful.

Hi there, I have been working through qcCowboy's orchestration master classes and I would like to thank him for his time on those because they are very helpful. The guide notes that it should not be treated as a replacement for a good orchestration book so I was wondering what your recommendations are for a good book or books for learning techniques on orchestration. Perhaps you could recommend good reference books for instrumentation but also tutorial style books for orchestration. I think i'm reasonably comfortable with technical language (although perhaps you could note if the book you are recommending is particularly technical/advanced or too 'easy' if that makes sense). Thanks so much in advance and great to join this forum!

Thanks alot guys. That's helped an awful lot.

Hi, Just a a generall question that has always niggled at the back of my mind. When writing accidentals, are there any 'rules' for deciding when to use the enharmonic equivalent or not? For example why would a composer choose to write Dd instead of C#? Thanks alot.

I thought it was a solid piece with plenty of emotion but I have to agree with BiddyPocket:

Thanks very much for the replies.

Both are similar in functionality although some would argue that the other wins over in a specific area. The distinct difference between them is the workflow and "how you do stuff". I personally use Sibelius and prefer it becuase for me, it's most efficiant and when you want to do stuff, Sibelius shows a more 'familiar' way of doing it. An advantage of Finale as a franchise, is there are more package options and for more value for money eg: Allegro etc. You can't go far wrong with both. I suggest you download both trial softwares and try to create the same score in both and see which one suits you best.

Well the thing is that I'm not sure what being "happiest" or what "*fits*" means. They tune sounds the same in all keys in piano (unless it is too high or to deep). Perhaps it's that, being to high or too deep - the key that gets the richest, even sound.

When I begin to compose a piece, i'm actually not quite sure what key I should choose. I understand that you may need to select a key for reasons such as instrument ranges and ease of play but is their something technical for choosing a key. I mean I compose a lot for piano but I generally choose C major or c minor, just becuase those are keys that are familiar to me. Thanks