Category Archives: Music Notation

InsideTheScore Composing Challenge

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I recently took part in the InsideTheScore composing challenge and found it to be a worthwhile experience. The challenge gave me an opportunity to revisit my composition process and reinforce important concepts in orchestral writing.

Day 1: Laying the Foundation

  • Mission: Develop a clear musical theme and establish the general structure.
  • The defined parameters (intro, main idea, development, wind-down) provided clarity and direction. Referring to the Songwriting Sourcebook’s chord table helped in creating a solid chord progression that shaped the piece.
  • I worked out initial ideas using pencil and guitar, capturing sketches with quick recordings on my phone.

Day 2: Orchestrating the Melody

  • Mission: Assign the main theme to orchestral instruments for greater impact.
  • Using Dorico to notate and then arranging in Logic, I split the melody across different orchestral sections. It was a useful reminder of how some software routines can become less familiar without regular use.

Day 3: Adding Depth with Harmony and Rhythm

  • Mission: Build supportive harmonic and rhythmic layers beneath the main theme.
  • I incorporated rhythm based on my guitar sketch and adapted the score using ensemble patches, which improved workflow. Planning textures and refining data was important in keeping the arrangement clear.
  • On this day, I also created a table of parts for each section of the piece, centered around melody, chords, rhythms, and bass to help organize and clarify the roles of each element throughout the composition.

Day 4: Developing Counterpoint and Interaction

  • Mission: Create a middle layer to interact with the melody.
  • I shifted to a four-stave layout (melody, counter-melody, harmony, bass), focusing on getting the musical parts balanced using piano sounds. Removing problematic MIDI data was necessary to resolve some technical issues.

Day 5: Final Touches and Detailing

  • Mission: Add percussion and color instruments for a finished, cohesive sound.
  • After introducing percussion and adjusting mix elements, I exported and shared the completed piece.

Key Takeaways

  • Having a complete sketch of melody and chords for the entire piece from the outset is crucial. This foundational step streamlines the process, gives structure to the work, and clarifies the direction for orchestration and development.
  • Defined structure and planning are helpful throughout the process.
  • Tools like chord tables and ensemble patches can streamline writing.
  • Creating a table of parts for each section, focusing on melody, chords, rhythms, and bass, aids organization and clarity.
  • Remove all unnecessary CC data from imported Dorico MIDI files (particularly CC #7 as it wreaked havoc on Spitfire BBCSO master volumes during Day 4).

Here’s the audio of the final version of the piece:

Here are the charts I put together for this project:

Schoonmaker Composing Challenge SketchDownload
Schoonmaker InsideTheScore LeadSheetDownload
Schoonmaker InsideTheScore Lead & HarmonyDownload
Schoonmaker InsideTheScore 4 StavesDownload

Big thanks to Oscar Osicki & his team at InsideTheScore for putting this challenge together.

Revisiting Colossus—Building a Full Orchestral Score and Template

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This past spring, I dove into the Spitfire Audio Colossus Re-Scoring Competition with an approach that started simple: a piano reduction in Dorico, then a MIDI export to Logic Pro, where I fleshed out the arrangement using Spitfire’s Contemporary Drama Toolkit, Abbey Road One, Ólafur Arnalds Cells, and Omnisphere 2. For a full breakdown of that process, see my post here.

After the competition, I decided to take things further by creating a full orchestral score in Dorico and building a new Logic Pro template based on Spitfire’s BBC SO and Abbey Road Orchestra. My goal was not only to improve the sound, but also to test a workflow I could use for future orchestral projects.

The Good: Dorico’s Notation Power

Writing the expanded score in Dorico was a pleasure—everything felt intuitive and efficient, especially compared to Finale. But when it came time to export MIDI for Logic, I hit a few snags.

The Not-So-Good: MIDI Export Challenges

Depending on the expression map you are using, Dorico exports a lot of extra MIDI data, and there’s no way to turn it off. The expression and modulation information didn’t translate well to Logic, so I ended up deleting everything but the notes and velocities and redoing all the expressive details by hand. The BBC SO expression maps from Dorico’s website didn’t help much either.

I get that Dorico can’t know how I want velocities mapped to my sample libraries, but it still made the process more tedious than I’d hoped.

Mixing & Template Insights

Spitfire’s plugins have multiple volume controls, which can get confusing. I found that using Logic’s mixer for overall volume, and plugin controls for expression/modulation, made things much easier. Other key takeaways:

  • Logic’s velocity values didn’t always match Dorico’s (fff = 100 instead of 120–127).
  • Short articulations need careful velocity/expression; long ones depend on modulation.
  • Map divided parts (like Flute 1 & 2) across solo instrument/leader and section instruments.
  • Quantizing and humanizing MIDI in Logic helped restore a natural performance.

Mixing Approach

For this version, I used the AMEK 9099 on group buses (details here), and my usual mix bus chain: SSL G Bus Compressor, Fairchild 670, and ATR-102.

Downloads & Links

  • My updated 2025 Orchestral Template for Logic Pro:
Orchestral Template 2025.logicxDownload
  • This is the final audio master of the piece:
  • You can view and download the Full Score here:
Schoonmaker Spitfire Colossus Trailer – Full ScoreDownload
  • This is the final version of the video:

Conclusion

Upgrading my competition entry was a valuable learning experience. Dorico is a fantastic notation tool, but exporting to Logic for detailed mockups still takes some manual work. The payoff: a more expressive, nuanced orchestral sound—plus a workflow I’ll use again.

Dorico

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Towards the end of last year I decided to try out a demo version of Steinberg’s Dorico Notation Software, as I had heard great things about it from some of my friends at Chigiana. I loved it so much that I bought a full version once the demo expired. How I wish that I had been able to use it while I was in Berklee’s program. It’s so much more enjoyable to work with than Finale, on so many levels. 

While I found some great tutorials on YouTube and Groove3, it wasn’t the same as doing a real project, from start to finish. For this I chose to create a project that would combine a few things I had been wanting to do for a while. 

First, notate a full orchestral score in Dorico, while using Note Performer (which I hadn’t really used yet). Secondly, analyze and recreate some of the scores in composer Ryan Lynch’s “10 ESSENTIAL Orchestral Scores You Need To Study” list. For this project I chose to focus on Mozart’s Symphony No 40 in G minor.  

Based on the original score found on IMSLP, here is the version that I created (first five minutes of the piece):

Mozarts-Symphony-No.-40-in-G-minor-FULL-SCOREDownload

And here is the audio via Note Performer (and some processing in Logic using UAD’s Studer A800, SSL G Bus Compressor, Fairchild 770, and Ozone 9): 

Below is the analysis that I put together, based on Ryan Lynch’s template:

Overall, I really enjoyed this project as it helped me to get more familiar with Dorico while giving me an even deeper appreciation of just how great Mozart’s music is. Just amazing!

Notation Checklist

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Recently it occurred to me that I should have a checklist to remind me of the things that I need to do when putting together notated scores. I’ll add more as I think of them, but this is a good start.

  • Title & composer name
  • Font type
  • BPM/Tempo
  • Measure #’s
  • Correct Time Signatures
  • Expressions
  • Dynamics
  • Chord symbols
  • Harmonic Analysis
  • Position of systems on/across pages
  • Spacing between staves & systems
  • Spacing between notes/chord symbols/measure #’s
  • Zoom level
  • Rehearsal Letters
  • Double Bars for each new section
  • Synth patch used
  • Drum key/Berklee drum notation rules
  • Use 2 layers for drum parts for correct direction of stems (upward for parts played with the hands, downwards for parts played with the feet)

Enchantment

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“Enchantment” is the first song from the upcoming “Equinox” album. It is also the first symphonic piece that I’ve done in a long time.

Video footage taken while visiting Mt Tamalpais (Marin County, CA), Municipal Rose Garden (San Jose, CA) and the Pulgas Water Temple (Redwood City, CA).

Here’s the backstory…

I had been wanting to do an orchestral/symphonic piece for many years now. Fortunately some of the tools available nowadays makes it possible to create something that sounds pretty compelling in terms of authenticity. 

This song started as a simple chord progression with me humming the melody. Here’s the original sketch:

Once I had decided that I was going to work on this song idea for the concert, I made a full chart with lead melody and chord progressions:

While working on pre-production of the song I watched two very helpful video courses on Groove3:

“Creating Realistic MIDI Strings”

“Creating Epic Cinematic Compositions”

The latter being particularly useful as I ended up mirroring a lot of the approach outlined in the course. 

Here are some of my notes that I referenced while bringing the track up:

  • Follow the “Rules of Harmony” (this video by Rick Beato was particularly informative: https://www.youtube.com/watch?v=HuSKULck394)
  • Determine parts per section (e.g. Strings, Horns, Woodwinds, Percussion, misc.)
  • Create new alternate version in Logic per section (to free up CPU resources when using the virtual instruments)
  • Stack multiple virtual instruments per section w/ different articulations to create a fuller sound
  • Quantize, humanize then scale % of quantization applied
  • Use mod wheel to write expression automation
  • Bounce to align (if necessary) 


Shine On

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Long before I became a fan of Pink Floyd, the guitar riff in “Shine On You Crazy Diamond” echoed in my mind all on it’s own. Somewhat like a half remembered dream, familiar yet foreign and mysterious.

Recently I decided to take a go at notating it as part of my “Hearing & Writing” studies and ended up doing the full arrangement of the song’s main theme, right about where the band first comes in. This version is based on the live recording found on the “Pulse” album. While this does not reflect all the various nuances of each individual’s playing (slides, vibrato, bends, etc.) it does capture the main rhythms, chords and melodies.

Demolition Man

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Today I chose to notate the bass part of this classic jam by The Police. I love this riff. As I think about it, the bass line _is_ the song. There’s a lot that happens in the way of other parts being introduced throughout the piece (vocals, horns, guitar solos, drum fills, etc.) but the bass line never varies. It’s very hypnotic and beautiful in it’s simplicity. When you got something this cool why mess with it?

I’m Buzzed

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I love Michael Landau’s playing. He comes up with really unusual melodies and chord voicings that sound amazing to me. His playing can be fluid and gentle and then suddenly powerful, fierce and raw.

I decided to notate the main theme of his song “I’m Buzzed” as part of my Hearing and Writing studies. While this does not reflect all the various nuances of his playing (slides, vibrato, bends, etc.) it captures the main rhythms and melodies. To be honest I’m a bit buzzed that I am able to even do this much. Looking forward to what’s next.

While researching the piece I found this great video of Michael explaining how he plays the song as well as this clip of him playing it with his band at the legendary “Baked Potato” in Studio City, CA.