Please see this page, for the updated version of this post.
Very helpful–I have been thinking about this for a long time.
Hi Geoff, thanks very much! Wouldn’t mind having a read of your doctoral thesis too… :)
This is a great write up, and pretty much exactly expresses all the reasons why I switched to iPad/ForScore/AirTurn for my stuff too. I’m totally poinying people here when they want more info on pros/cons. Funny– the reason I switched is that our cellist in GNE had the setup and got me excited about it a few seasons ago. Bleeding edge cellists= WIN. ;)
Yay! Thanks Katie. Nice to be aware of your ensemble too. :)
hi there! katie turned me on to this post… i just got an ipad mini and would *love* to not have to carry around all my heavy scores with me all the time. (i’m an opera singer). Question though: how do you get scores that aren’t in the imslp database uploaded? thanks!!!
Hi! Thanks for your comment. I think you’ll probably need a scanner if you have a lot of paper scores – I used my iPhone to scan for awhile but the quality can’t be compared with a nice scanner…
What an amazing world we live in! FreesLast year Melbourne’s Ensemble Gombert was singing at a wedding and discovered a piece in the order of service they hadn’t been told about. Using the resources of CPDL and their smart phones and tablets (most had one with them), they were able to perform the extra piece.
Nice summary, Heather. I’ve been fascinated by the use of tablet technology in performance ever since I saw the soloist use one in a performance of Ligetti’s violin concerto in 2002(ish). I think this kind of approach is the future, really.
From a compositional persepctive I can see huge potential in using iPads (etc.) as a means of providing morphic rather than print-based (or emulated print) scores, particualrly where these are interactive in some way. There would be some issues, though, cheif among which will be developing the right kinds of software, not to mention the small problem of battery usage. Nevertheless, I think there’s a whole (relatively) unexplored domain of score-based performance that tablets can allow us to access in a fairly straightforward way. Sadly I haven’t the technical expertise to even begin developing new apps! I could bring a power cable though…
I think it definitely is the future. Certainly I’ve made more than a few composers happy knowing they don’t need to produce a clarinet part (so long as the score is transposed, which I really REALLY wish everyone would do).
You’re probably also right about morphic scores – this is something I wouldn’t mind getting into working with, come to think of it. I’m not sure that battery life is a huge problem though. I think in one normal length concert I never use up more than 15-20% of the battery, so there’s still quite a lot of power left for something that needed a little more oompf!
As both a composer & gigging clarinetist, I found your blog post to be MOST informative. I ran sequences at my last gig completely through the iPad. It’s just a matter of time before I go iPad all the way on stage. The composer side of me loves that you are having a good work flow with scores and page turns, etc. Thanks for sharing your thoughts and app suggestions!
Hi Nickitas! Thanks very much. Let me know how you get on :)
Pingback: Why iPad? Answers from Heather Roche, clarinettist | Technology for the Classical Singer
I enjoyed this. I also use an iPad for music and write about it (and other geeky music stuff) at my blog, Technology for the Classical Singer. I just did a write-up of your blog post there, along with some of my responses. BTW – you mentioned cutting up parts; have you tried the Partifi website? It’s free and it automates the extraction of parts from a score.
This site uses Akismet to reduce spam. Learn how your comment data is processed.
I’m now available for home studio recording on Fiverr!
Enter your email address to subscribe to this blog and receive notifications of new posts by email.
Enter your email address to follow this blog and receive notifications of new posts by email.