Suprisingly, one of the most complex pieces of code is the code to determine where a note is in the staff. Finale stores notes as relative scale positions in the current key.
Sentiment: POSITIVE
There are notes between notes, you know.
I highlight everything I find interesting, and then type out everything I've highlighted, and then print out everything I've typed, and reread these printed notes as often as possible.
In the first place, you must pay great attention to the key note.
I never look at a note. I just roam the stage. The people do not want to leave.
I myself never make any notes. Usually, if I write something down, I can't read it afterwards.
I hope to refine music, study it, try to find some area that I can unlock. I don't quite know how to explain it but it's there. These can't be the only notes in the world, there's got to be other notes some place, in some dimension, between the cracks on the piano keys.
All you have to do is play one note. But it needs to be the right note.
But at the same time, never having final cut before, I really learned an interesting thing for any studio executive who is reading this: that if a director has final cut, it's actually easier and more interesting to listen to notes.
The beauty of it is when you can just show up and hit the notes.
I still do not know where the notes will come from when I accept a commission for a new work.