In addition to all the other things I do, I also provide professional copying services. I work primarily in the musical theater genre but have also worked with clients on big symphonic scores all the way down to really quick and simple lead sheets for rock bands. I work primarily in Finale, (currently I can work in versions 2011, 2012 and 2014, but can convert from any previous version), but I also am fairly proficient in Sibelius (versions 6 and 7.5). I have also become rather adept at converting files from one program to the other, especially from Sibelius to Finale. I am set up to do MIDI conversions directly from Logic or Digital Performer or General MIDI and/or XML files and have become quite proficient at taking down songs from audio files. Of course handwritten scores are welcome too.
My philosophy as a copyist is to really be a collaborator with the composer and/or orchestrator on the notation. I’ve spent many years developing my own Finale templates and I have a very open policy with those templates with my collaborators. In an ideal situation I would customize my templates further to meet the needs and preferences of each composer or orchestrator I work with making sure that everything they need is right where they want it and that everything looks how they want it to look. My goal is to create a skeleton file for every song so that all they need to do is open the file and start creating with very little searching to get what they want and very little manual labor to make things appear as they should. Of course for the pencil and manuscript crowd this philosophy translates differently in that it’s important to me to have an open channel of communication with my collaborators so that I can get the notation just to their liking.
Finale, in my opinion, gets a bad rap sometimes because it can be slow and inefficient if you don’t have a good template to work with. I’ve had clients tell me after working with my templates that they were surprised at how quickly they were able to do their work. A bit of planning and organization goes a long way towards efficiency in Finale, and this planning and organization is exactly what I’ve worked hard on over the years in order to achieve that level of efficiency in my templates. And of course I’m constantly adapting these efficiencies to meet the specific needs of different projects and/or composers and orchestrators I work with.
One final benefit of this commitment to efficiency is that I’m pretty confident that I can price projects very reasonably. Please call or e-mail with questions or requests for estimates and I’ll be sure to get back to you as quickly as I can with an answer or a reasonable bid. I’m also happy to send along samples. firstname.lastname@example.org
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