I agree with you, Raymond. I'm only slightly older than you and have
used Finale since 1991 and Sibelius since 1999. I don't think it's as
much a generational issue as a sign of the different ways we all think
and work.
What I find with Finale (and to an even greater extent with Sibelius) is
that I write more "improvisationally". I try different things, have
several versions working in different directions at the same time and
other things that are simply not practical with pen and paper. It's more
immediate, rather like jazz improv.
I have talked to others who have had the same response but there are
certainly those for whom the software is merely an engraving tool at the
end of the process.
What concerns me is the number of younger workers who do not have
command of the fundamentals before beginning to work with software. Not
just in music, but in all computer aided fields, it is necessary for the
human, not the machine, to be in charge.
Incidentally, I find that I am less aware of the computer when working
in Sibelius than in Finale, but that is, again, a difference in the way
I think as compared to others.
Richard Smith
www.rgsmithmusic.com
Raymond Horton wrote:
I'm a boomer (age 54) and write only a few sketches on paper. I work
nearly everything out on the computer, being a poor pianist, although
I occasionally have some good original ideas working with a pencil
away from anything. Working on the computer is fairly slow, but the
result is a nearly full score (sometimes three trumpets on one line,
explode them later, etc.).
Raymond Horton
Andrew Stiller wrote:
I think that Beethoven and Mozart would have used Finale if it were
available back in their day.
This is definitely a generational issue. When I started using Finale
in 1991 there was still a whole generation of composers out there
who never used a computer for anything, and saw no point in
adopting the new technology. Most of them are dead now.
My generation, the boomers, mostly use Finale as an engraving
tool--that is, we compose on paper (using piano to test chords,
counterpoint etc.), then when everything is done, use Finale to make
the fair copy and extract the parts.
I realize that the vast majority of younger composers work directly
in Finale, but I confess I cannot even conceive how that could be
done smoothly, since I, at least, would find myself constantly
distracted by engraving issues (supressing cautionary this'n'that
between movements, frinstance) that have no bearing on the act of
composition itself.
Andrew Stiller
Kallisti Music Press
http://www.kallistimusic.com/
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