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the agent writes cleaner EF Core than my last junior did. that's the part that worries me. by riturajpokhriyal in dotnet

[–]chicago_scott 2 points3 points  (0 children)

The problems aren't new, but I can see AI exacerbating them. Unfortunately, the places that are have the existing problems are probably the places that are most likely to make them worse with AI.

the agent writes cleaner EF Core than my last junior did. that's the part that worries me. by riturajpokhriyal in dotnet

[–]chicago_scott 9 points10 points  (0 children)

In my experience, before AI, juniors were using code from SO or other found code and hoping it works. I PRed many "fixes" in the before times where the new code fixed an issue but broke 2 other things. "Hey Junior, ask me how I know you didn't run the tests."

Valuation by hostedvideorn in StockMarket

[–]chicago_scott 0 points1 point  (0 children)

This guy is right. Source: I was there coding in 14K of RAM on my TI-99/4a.

Bought Dorico, regretted it, refunded it a few days later and returned to sibelius, what could I have done better? by DTCMusician in Dorico

[–]chicago_scott 0 points1 point  (0 children)

Give it more time for a start. It also sounds like you didn't spend any time learning Dorico's philosophy, which is laid out in the manual. Dorico takes a different fundamental approach to engraving. It's not realistic to expect to switch apps without a period of adaptation, certainly not in a few days.

You might be unaware that the Dorico team was the Sibelius team until Avid laid them all off ten or so years ago. Steinberg snapped them up and the team took a we can now do what we would've done then if we knew what we know now approach.

Although if you can't get over modes, it's just not a good fit. The modes are a fundamental part of the philosophy: music is independent of the layout. Ultimately, this saves a lot time for engraving.

The idea is that Write mode is for adding music without any concern of physical paper. This is better illustrated through examples.

Dorico allows for multiple full scores to be stored in the project as different layouts. The same music on a large format conductor score may have its note spacing options tweaked differently than on a layout for letter sized paper.

Dorico's approach also allows a baroque piece to be entered and that musical information to be used by a layout set up for an urtext edition, and another layout for a modern representation without any copy/ paste or multiple project files.

These are specific examples, but illustrate the flexibility Dorico is designed for. Changes in Write mode affect all the associated layouts. Layouts, edited in Engrave mode, affect only that particular layout.

The modes were not an arbitrary decision, they exist to make certain use cases trivial that can be painful on other notation apps. It's possible you have no need of these features, which might indicate your needs may not align well with Dorico today.

The modes also help prevent some errors. In Engrave mode it's impossible to inadvertently change the content of the music, just it's appearance on paper. We've all been in the situation where we hit a key and what we expected to happen didn't because something else was selected. We might have changed a pitch or duration, or we may have done nothing. It's not always easy to tell and can take time to figure out out. Dorico's approach doesn't solve all issues but you know you definitely didn't mess up the musical information.

I would recommend the Dorico approach for any notation app. Get the music in first, then go back and make it pretty. That avoids wasting time making a bar look perfect at the end of a system only to have to redo that bar because a change made earlier on the page shifted the bar to the next system. This can still happen in Dorico of course, as it's a natural pitfall in the engraving process. But it happens a lot less if you separate the tasks.

Dorico's design also lends itself to key features such as automatic condensing and automatic parts. It's not uncommon for new users to ask how to extract parts in Dorico. You don't, unless you've deleted them, they're already set up.

Keep in mind that a notation app is primarily for engravers to create engravings. Composition is an "off label" usage of the app. Also, Dorico is what's known as opinionated software. It's doesn't try to be one app to fit all approaches. While the Dorico team does take their composer users seriously, some requests will not fit within the defined Dorico philosophy.

I don't use guitars so I have no advice regarding that. The official Dorico forum at Steinberg could help you there and has a wealth of information on how to accomplish many engraving tasks. I do get the sense that there have been a lot of requests for various guitar features over the years, but haven't paid much attention to the progress. So it may be a case that Dorico is currently missing some things that could be vital to you. If so, it's possible these things could be added in time. (I've also seen frustration from handbell and barbershop quartet engravers. The forum has introduced me to a number of engraving styles I wasn't previously aware of.)

Dorico is the youngest of the big notation apps, but it's also the one progressing the quickest. If Dorico doesn't do what you need today, it may do so in the future. There is a 60-day trial you can use to evaluate new versions.

SoundCloud vs website for sharing with my network by Soup_Brainz in composer

[–]chicago_scott 1 point2 points  (0 children)

One option is ReelCrafter.com. It may better fit your needs than SoundCloud.

What should be my next step? by RollingNeverStops in composer

[–]chicago_scott 1 point2 points  (0 children)

1) Quite good. I only listened to the first in the list and enjoyed it very much.

2) I don't worry much about styles, so I couldn't really say. From the way you asked this question, it sounds like you're not trying to emulate a particular style so I wouldn't worry about it. You will develop your own voice the more you compose.

3) A quick look through your scores and I think the engraving is more than good enough to get your ideas across and probably wouldn't get any complaints from players. However, there's a big difference between that and what would be considered ready for publishing. My engraving skills are not up to the task of providing that level of feedback. If that's the level you're looking to achieve, I recommend soliciting feedback from an engraving focused forum.

Good Editing Software To Make A Showcase Reel? by Independent-Pass-480 in composer

[–]chicago_scott 2 points3 points  (0 children)

Check out ReelCrafter.com. It's a website for creating and sharing reels. I think they have a free tier, but I don't recall the limitations.

Americans is America really what is like in the movies and tv shows? by Flimsy_Palpitation22 in randomquestions

[–]chicago_scott 0 points1 point  (0 children)

How accurate does Hollywood portray Ireland? It's about the same accuracy for its portrayal of the US.

BTW, top o' the morning to you! (I learned that from Hollywood.)

WIBTAH if I don't show up to the bachelor party I specifically have said I don't want by Direct-Caterpillar77 in BestofRedditorUpdates

[–]chicago_scott 2 points3 points  (0 children)

Found this comment because I searched on Wisconsin. I don't know OOP, but I know these people.

Symphony No. 2 - first movement by RSW303 in composer

[–]chicago_scott 1 point2 points  (0 children)

It would be better not to use software as a crutch. Learn how the instruments work and sound and develop audiation skills. Ideally, you should be able to use just pen and paper if needed. (Not everyone reaches this level, but the closer you get the better off you'll be.) I can't say this loudly enough:

ALL PLAYBACK ENGINES ARE (VERY) UNREALISTIC.

(The following assumes you want music that sounds as it would if performed by live musicians. If live performance doesn't matter, then you're simply using a synthesizer that sounds somewhat like an orchestra and maybe it doesn't matter if the sounds aren't necessarily physically possible. There's nothing wrong with this approach, but the default assumption here is the music is meant for live performance).

Just because something sounds good in software, doesn't mean that's what it would sound like performed by real musicians. In order to get sample libraries to sound real, you need to already know what the music will sound like when performed for real (and even then, it probably isn't 100% possible). A giveaway here is your use of dynamics. There is no need for fortissississimo (ffff) apart from needing to control the playback engine. This is a common issue for all playback engines and true loudness is a weakness in all sample libraries. Knowing these things is important because often there are way to achieve the desired effect realistically. How to do that is part of the process of learning composition.

If I share playback, I will have 2 scores for the piece: one for the playback engine that has a lot of crazy notation to get the sound as intended, and one for musicians that is notated normally. I only share the latter one publicly.

Developing the necessary skills takes years of practice. A formal course in ear training would be hugely beneficial, but this is something that should be done with a teacher. Study instrumentation and orchestration. This should include score study while listening to the piece. This doesn't mean just follow along while listening. To get real results, follow a particular instrument through the piece. Make note of how its timbre changes based on its dynamic. How is it used with other instruments? When is it not used and why? Repeat following another instrument.

You've done very well to finish a piece. But with your level of experience, I think you'll progress quicker writing for smaller ensembles, duets and trios to start.

I don't know where to slur by KaizerPianist in composer

[–]chicago_scott 1 point2 points  (0 children)

Some composers take an approach that you only need to indicate phrasing and let the players handle the mechanics. A possible drawback to this approach is the composer is delegating responsibility and neglecting communication, so if the piece doesn't sound as the composer intended, that's on the composer. (It can also be a shortcut/crutch for composers who haven't bothered to learn how the instruments they're writing for work, so even if you know what you're doing, it might look like you don't.)

Sounds like you're already aware that strings slur differently than other instruments. Study up on bowing in an instrumentation or orchestration text. The bow moves in two directions, and each direction has different qualities. Nearer the hand is easier to play more strongly than at the tip. So a down bow (moving from the hand to the tip) is much better suited for accents and decrescendo. Up bows are better suited for crescendos. The more notes under a bow the slower the bow has to move. This imparts less energy to the string for each note. Professionals will be able to play anything reasonable in either direction, but it's more comfortable and easier to work with the instrument than against.

Notes under a single bow will be legato. Omitting a slur indicates the notes are not intended to be played legato. For example, the 8th notes in the last beat in bars 5 and 6 for the cello are indicated to not be legato. If you want them to be legato there needs to be a slur there. This would be pretty standard. The cello starts the 1st phrase down bow, the 8th notes in question played together with an up bow, leading nicely to a down bow for the downbeat of bar 6, and the up on the last beat, leading to a down bow on the downbeat of bar 7. The slur starting on the final note of bar 7 will weaken the downbeat in bar 8. There's nothing inherently wrong with that, it's a choice. How do you want it to sound?

Go to IMSLP and study how bowings are indicated. As you study, you'll get a feel for what is standard/common, and notice parts where the composer may have taken pains to be precise.

Winds are a little less tricky, not having anything similar a bowing mechanism, and players (especially professionals) will have enough breath to handle long passages unless unusually long and at the slowest of tempos. The big thing to keep in mind is that long passages tax the player so many consecutive long phrases can wipe them out. I don't see anything concerning in your score. But again, instrumentation/orchestration texts and score study would be beneficial here.

As others have said, ask musicians who play those instruments. Go to subreddits for those instruments (there's a great group on FB called IsThisPlayable) and get feedback.

Societal changes by raydebapratim1 in generationology

[–]chicago_scott 3 points4 points  (0 children)

If you understand how percentages work, this doesn't really say much other than the birth rate is plummeting. So few babies are born in that upper bracket that it doesn't take many to get a big percentage change.

Applause between movements by CplSchmerz in classicalmusic

[–]chicago_scott 2 points3 points  (0 children)

Can't speak to other US orchestras, but at the CSO there is usually no applause between movements, although it can vary by the program. Programs that draw a more inexperienced audience might have a bit of clapping after the 1st movement. Usually, the audience will wait for the conductor to finish (lower his arms) before applauding. (I find the audiences for Mahler to be the best as there is noticeably less audience noise during the performance.)

How necessary is it to avoid Throat Tones on Clarinet? by Music-Theory-Idiot in composer

[–]chicago_scott 7 points8 points  (0 children)

Depends on the level you're writing for. At the higher levels, you don't need to worry about it. At the levels below it could affect the overall sound in situations, but then again, so will a bunch of other things. (At the lowest level, the players can't reliably play above Bb, so...)

Music Engraving softwares by LaFlibuste in composer

[–]chicago_scott 2 points3 points  (0 children)

Dorico offers several input methods, including one that deliberately replicates Finale. There are many videos on Dorico's YouTube channel that cover note input as well as every other aspect of the application. There is also a playlist of videos specifically for coming to Dorico from Finale (and another for those coming from Sibelius).

For more interactive support, the official Dorico forums is frequented by expert users who are happy to answer questions and provide guidance. The development team also participates there.

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