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Very useful!Thank you

It just takes me only one vid of yours for the insta sub. Gold content!

55 Heowrtz

Wow!!!

This doesn't seem to work in Sibelius Ultimate.

Love this guy!!! 😁

I am so glad you gave Bernd Alois Zimmermann and Sofia Gubaidulina a mention!! Zimmermann is so underrated in my opinion! His works are so rarely performed outside Germany! Gubaidulina is one of my favorite Russian composers! She really established her own musical voice so well!

Alex on his way to make the best content about music there is and then disappear

Thanks! I didn’t know this was a solution.

Thank you so much!

Thank you for your explanation! It is so helpful and needed for composers who use Sibelius.

Not great for Mac users.

Thank you! I had some really weird glitch where it was like two scores laid on top of each other so my pages were a cluttered mess, but now it's a lot better :3

Hello Could you please share the shortcut to allign multiple lyrics in a better way?

This was a fantastic series. Thank you for all of the time and effort that went into producing it. Well done!

2:28 Note to myself: The fifth overtone is not a minor third, that’s a fifth (from the root note!) when he said “minor third” he meant the interval between the fourth and fifth overtone. Minor thirds (talking from the root/diatonic scale) don’t appear initially in the overtone series until the 19th harmonic. And that’s why a minor chord sounds sad, they don’t “exist” in nature. Extra note: the root is also called fundamental and that is because it’s the lowest frequency that it can physically vibrate, not less. Reminder: Hz is the unit measure of how many vibrations occur per second.

Awesome !!!! Awesome awesome Thankyou so so much. May God bless you❤❤❤ Really helped me transcribing our hymn.

The 'half-boxed' text was only available on MAC until the new Pori release.

THANKS!

Simple and easy. Thank you!

Could you please explain the difference between ABSOLUTE and RELATIVE (sizes), please?

Have subbed!

Great, cheers!

Very good presentation! You have been very helpful :)

1:30 "fifty five HËÆAUÜTHS"

I feel like many orchestral composers before the modern era of computers and synths are the O.G. sound designers! Without realizing what it was, I grew to love this technique in my music production, layering different types of oscillators on a synth, layering subtractive synths with samplers, layering different types of guitars, or layering them altogether to create totally new tonal instruments, layering drums for creative new timbres (how about fattening up a snare drum with a filtered door slam and a soda can being opened?). While that last example is less tonal, the point is, I and many music producers do this layering instinctively because it sounds cool and it's really fun. For many years I had no idea I had been playing around with manipulating the overtone series, albeit in a less informed way than Ravel. Now that I've gotten further into writing orchestral music, I really look forward to putting this knowledge to work for me, approaching orchestral and acoustic instruments like a sound designer! 🤓

CHEERS!

Another way of hiding individual parts on the full score is by deselecting them in the Focus in Staves in the Layout menu

I enjoy, "Empire of Angels", by Thomas Bergersen.

A+ for effort on your R rolling, but.... Maurice Ravel was French 🧐Awkward

Sound colour 🤔

Hello. I just looked at your lessons and realized that you can work in the editor faster and with minimal errors. You are a brilliant teacher. Thank you. I want to share how to insert the selection. You can select a group of notes and not use the Alt key, just press the mouse wheel in the right place.

This series is fantastic! Thank you for your effort in making them clear, concise and so easy to follow. Well done!

I changed the value of a ton. I wanted to get a quarter of a ton, but the sound did not change the same?

I changed the value of a ton. I wanted to get a quarter of a ton, but the sound did not change the same?

A genius indeed

Nobody like Charlie Ives. By the way, the violin sonatas, the Concord, and the Housatonic at Stockbridge are simultaneously radical/dissonant AND among the most beautiful in the American canon.

Communist propaganda. A composer is an artist with artistic freedom. There’s only one rule: Public opinion. If people like your art, and they buy it, then it’s good. So there’s nothing that an artist MUST learn. But the Nomenklatura survive by trying to define artistic success. What the government does is “good” such as those horrible and ridiculous photos in Vogue Magazine. Or those stupid movies that no one has ever seen which win “Sundance Film Festival Awards”. The government says that their awful songs, books, and movies receive “Rave Reviews” and “Critical Acclaim” even though all of that stuff would be a commercial failure if there were a free market. But there’s not. The government has a total artistic monopoly. That’s Beyoncé, Madonna, and Sting. Political liberty and freedom of speech include the right to publish. But people in America don’t have that right. The electronic prison is all encompassing.

Check out the great David Amram. American legend. He’s still going in his 90s! He also includes indigenous music and plays many of those instruments himself, including the penny whistle(s) (that he also plays jazz on).

I'm really enjoying this series! Thank you for putting it together!

great video, thanks a lot

Fantastic. Thanks.

This is the most helpful Sibelius video I have encountered so far! As a music theory teacher I often struggle/wrestle with Sibelius to try to get it to do my bidding. Thanks for the info-packed, well-articulated video!

Thanks for putting this together. Very helpful!

Very cool video! It brought up several reflections for me. Regarding the lack of good AIs for creating music, the recently released AI Suno shows an interesting level of musical composition. I wonder, if human creativity is also based, in part, on combining references to create something new, what distinguishes our creative ability from that of AIs? Is it our ability to introduce random elements? Is error our hallmark of humanity? Our ability to introduce chaos and then harmonize it again... How does something truly new come into being?

What a discovery!! So excited for your next uploads

Look carefully at the image you give at 4:22 - it undercuts and contradicts what you previously say. Try to align the lines of the overtones and you will find that the gap is wider for the trombone than the other instruments. It's slightly hard to work out the y-axis. It seems to be almost, but not quite linear (if it were linear, then all the overtones if integer multiples of the fundamental, would be equally spaced, which they obviouly aren't. But even compared to each other, the overtones don't line up. Not only the trombone but also the violin, once you get to about the 8th oveetone, is noticeably "off" compared with the spectra for oboe and flute

Ives wrote fascinating songs and choral music, too. His psalm settings are amazing.

What do you think is the difference between an overtone and a harmonic? What is your definition of an overtone?

Thank you so much!! I had this dense score, and by using the Inspector, I was able to reduce certain staves and clean it up.