Creating the score for Moonrise anew in Sibelius looks like taking three sessions of note-plugging, and a fourth session of proofing. Which is not unreasonable. Session II took place last night.
One advantage of composing a passacaglia is: the bass line is turning continually in the back of my mind, and I find it quite easy (when boarding the train in the morning, e.g.) to ride the flow . . . a fresh variation or three seem almost to compose themselves. There is no hurry on this, and my plan is actually to build up to perhaps 32 variations.
In other news, positive response to Out in the Sun has come in, from a wind ensemble conductor in New York.
Not that I know he would have any use for it, but it is with this fellow in mind that I have been revisiting Moonrise.
One quirky thing about the Sibelius 7 sounds: not matter how long a tone needs to be sustained, the flugelhorn sound cuts off after a certain (and brief, as it feels to me) duration. I may need to tinker with a "for MIDI" Sibelius file, just to get a sample sound file which at least has all the voices sounding when they ought to be . . . .