On Tuesday, May 25, 2010, Julie S wrote: > I suggest for simplicity a symlink should not be transormable in duration > or pitch, or velocity. However, they may appears in other tracks so the > instrument can change, but the events otherwise stay the same.
I can agree that symlinks should not change with respect to duration or velocity, for the sake of simplicity, but pitch is a huge can of worms. I think the big attraction of being able to do segment symlinks would be the ease of writing some passage in one place, and then moving the theme around to different instruments at different times. This involves transposition in two different ways. On the one hand, you have the case where you'd want to take a theme from one section to another, leaving it at the same pitch. It is likely the notation would need to be adjusted going from one to the other (trumpets in Bb to flutes in C, say) so it's not enough if the segment merely keeps the same observed audible pitch. On the other, you have the case where you want to take the theme and express it in a different register. You've got a violin part you want the cellos to repeat later on, and cellos play in a different register, so you've got to move the part down while keeping the relative pitches the same. When I think on it further, this is just the tip of the iceberg, and there are many other possibilities worth considering that involve transposition of the symlinked segments in some way. Without this sort of thing, I wouldn't actually be able to get much use out of segment symlinks myself, since I almost always write everything for instruments in at least three different transpositions. -- D. Michael McIntyre ------------------------------------------------------------------------------ _______________________________________________ Rosegarden-devel mailing list [email protected] - use the link below to unsubscribe https://lists.sourceforge.net/lists/listinfo/rosegarden-devel
