Thank you everybody for listening!
Bob, I’ve lowered the volume of the glockenspiel (Jesper was right) and of the violins harmonics before it. I too think they were ear piercing. I also smoothened out something else here and there.
If you have the patience to listen again to it, I would be very grateful if you can point out other passages that can be improved!
Stephen – ouch! – sorry, I’m not ready for sharing the file. It’s also heavily a work in progress.
What I can say is that there is no secret sauce. I’m just using Dorico as a glorified sequencer. And I’m having a confirmation on how powerful the old notation is even in modern times. We just needed someone to create an effective bridge between this incredibly advanced and flexible symbolic language and the virtual sounds.
First of all, the score gives all the fundamental controls. Volumes and dynamics are right in the page. Articulations are there, clearly readable.
Fine-tuning tempi, dynamics, attacks, is like you do in a sequencer: draw segments and curves, adjust them at will. The only difference is that here you have a clear reference on the base articulations and dynamics, and can draw over them, instead than painting in the dark.
Custom playing/playback techniques can be hidden in the score to select not-so-obvious articulations. For example, the VSL VI library has a useful short portato/détaché. It can be used as a collé in faster passages, but also for shorter longs or longer staccatos. Add a custom technique in the score to select it, hide it, and you have incredible control on the nuances.