Writing on orchestration, engraving and score preparation, and on the theory and history behind them. From a studio preparing scores for performance since 1997.
The template decisions, the conversation to have, and the session cleanup that turns a mockup into data an orchestrator can read. Part one of a two-part guide.
Track naming, audio stems, the MIDI export, the cue folder, and what comes back to you. Part two, with the full delivery checklist.
Theodorakis ruled his own manuscript staves in a detention camp and copied his own orchestral parts by hand. His catalog shows why engraving decides which music gets performed and which waits.
