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My new Film Music Magazine column is up about the future of

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As long as orchestral musicians and studio musicians are called on to record music for film scores, there will remain a need for transcriptionists and copyists. So I think the future of music notation is safe, and there will remain opportunities for gainful employment by copyists.


The biggest obstacle that notation faces is ignirunce, i.e., over the past two years I've encountered several producers who I thought would know better than to think that notation can be spit out of a computer by the touch of a button. Yes, in the minds of those unfamiliar to the ways of orchestral music and the people who play it, we live in a push-a-button world. From the "not all that long ago" file... one producer I wrote a string arrangement for (in the form of a mockup) wanted to hire real players to perform it, but he adopted a circumspect tone with me when I told him that I'd have to charge him a copying fee to print out the parts. He was like, "what, you can't just push a button and print them out? I mean, how hard can it be?" Even after I explained some of the more basic reasons why it just wasn't that simple, he maintained his suspicious stance, as if my wanting to charge for that service was nothing more than a money-grubbing rouse. Ultimately he decided that it would be all the same if the players he hired just learned my parts by ear, despite my warnings to the contrary. I later came to learn that their session was a complete debacle. As expected.


So the need for notation remains a fact of life despite anyone's misguided expectation that we should be able to do everything at the push of a button, and "yesterday" at that! :lol:

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