PLOGUE BIDULE SHORTCUTS HOW TO

I have a set-up designed to make my job as easy and ergonomic as possible. I do a lot of re-transcribing, imploding, exploding, and transposing. The more I can do by pasting and working with that source material, the fewer chances I have of putting in a careless wrong note. When I am orchestrating, I start from an imported MIDI file.

PLOGUE BIDULE SHORTCUTS HOW TO

It took a while to work out how to do it all, but it is just part of what I just mentioned, getting all of the technical things out of the way. I’ve assigned specific keystrokes for copying only expressions, slurs, lyrics, etc. I also use Quickeys for things like making selections of items in the Edit Filter. I use QuicKeys a lot to automate tasks and make menu and tool selections with keystrokes as I do not have the main tool palette open when I work. If Finale doesn’t include the shortcut I make one in QuicKeys: I never go to a menu with the mouse. The goal is to get all of the technical things out of my head and be automatic, so all I have to worry about is the music and being creative. I like to think of Finale as my instrument: I have even been known to practice! Some of my friends think I am a little crazy, but when they realize I can work twice as fast, and more accurately, they quickly change their tune. I have a highly tweaked template and this ensures that everything I do comes out looking the way I want, without any effort. I have very particular ideas about how I want things to look and the greatest thing about Finale is that I can make anything look however I want. I am always amazed when I pull up an old score and see how similar it looks to my current work – the biggest difference is how much easier everything is to accomplish today.

“I have been a Finale user for 16 years: I think version 2 was my first. Tim also enjoys lecturing and conducting master classes, and this side of his personality surfaced quickly in our conversation – he was eager to discuss his setup and share his tips with our readers. His big band music is as diverse and varied as his list of credits, including elements of classic jazz as well as hip hop, heavy metal, and more. In December 2009 Tim was nominated for a Grammy award for Best Instrumental Composition for “Counting to Infinity,” a track from the most recent Tim Davies Big Band recording, Dialmentia. A complete list of his extensive credits can be found here. His success here has resulted in conducting work has well, including current films like Couples Retreat and the upcoming Percy Jackson and the Olympians. Tim has also channeled his orchestration and arranging skills to the world of film, television, and video games. Tim continues to arrange and orchestrate for a broad spectrum of top performers today. Orchestrations and transcriptions for concerts followed, including work for the likes of Jimmy Smith, Dave Brubeck, Nancy Wilson, Ray Brown, Oscar Peterson, and Take 6 as well as albums for Natalie Cole, Diana Krall, and Michael Bublé.

He moved to Los Angeles in 1998 to study at USC where a lesson with bassist/composer John Clayton led to a three-year gig assisting Clayton in his role as the Director of Jazz at the Hollywood Bowl. session players.īorn and raised in Australia, Tim first dreamed of leading his own big band at the age of 12. By night Davies leads the Tim Davies Big Band, which features his compositions and drumming alongside top L.A. Tim Davies photo by Paulina Friedel By day Tim Davies works as an arranger, orchestrator, and conductor in the Hollywood film world.

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