ABSTRACT
There is no single “best practice” for composing any good music. Unless one is working with a conventional musical scale that can be transcribed to sheet music, the potential sound field associated with electronic music is in many ways beyond the capability of effectively notating it, especially in unusual scales and tunings. Even Wendy Carlos, one of the most practiced composers working with predominantly synthesized tonal music, reaches a point in the creation of each work where fiddling with the physics of the sound is as important as the notes being played. Composing timbres is as important in electronic music as composing pitches.
