We are approaching the end of this series. Now that you have written your opera’s music (notes, lyrics, etc…), cast the music off, laid out pages, _accurately proofread it_ (you did this, right?), you are ready for the last step: building the final book.
Author Archives: Michele Galvagno
An Italian cellist’s journey into Serbian Language — Lesson 7
As we saw [in one of the previous lessons], the Serbian language has a most useful peculiarity: you read what you write, you write what you speak! For someone coming from Latin-based languages (Italian, French, English, German, you name it), this is a blessing! We can imagine, though, how our languages may look and sound from a Serbian’s perspective. In this lesson, we will look at some _phonemes_ and at how they are transcribed into _graphemes_ in the different languages.
Arrangements – Episode 1
This article is an expanded version of the _Editorial Notes_ that can be found in the published edition, available here A recording of this piece where all eight parts are performed by Maestro Barreto can be watched here.
How to engrave an Opera (in Sibelius) – Ep. 8
Welcome back again!
Today we conclude our journey through the notational conventions that allow you to properly engrave an opera, specifically focused on doing this in Sibelius.
An Italian cellist’s journey into Serbian Language — Lesson 6
Phonetic transcription (Part 1) Both Italian and English have vocals and consonants, namely: Vocals are the same, with English sporting five more consonants (J, K, W, X, Y) than Italian. That’s 5 vocals each, 16 consonants in Italian and 21 in English, total 21 letters in Italian and 26 in English. Serbian beats them both,Continue reading “An Italian cellist’s journey into Serbian Language — Lesson 6”
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