On 01/08/2013 04:37 PM, H. S. Teoh wrote:

> legato and have it automatically switch to the right MIDI programs, or,
> since you hate the strings, insert random sounds of violins being
> smashed, etc.. ;-)
>
> Or be able to switch between muted and unmuted trumpet parts without
> having to manually insert program change events.

The most obvious thing would be some kind of pizz./arco toggle and some 
kind of mute/open toggle that would flip between programs, probably as 
part of running Adjust -> Notes -> Interpret on the piece or something.

That idea falls down in a lot of ways though.  If you target it at 
General MIDI, the most simple and obvious thing, then you have very few 
choices, and don't offer much flexibility.  If you open up the 
flexibility to target broader horizons, then instantly the horizons 
become infinite and supporting them very complex.  It doesn't stop with 
mute/open, it ends up including every permutation of every instrument 
under the sun.

Whatever subset of that you target is always going to leave somebody 
somewhere complaining it isn't good enough.  If you do nothing, then 
everybody complains it isn't good enough, and that's the most 
egalitarian approach.  :)

> I've always dreamt of writing concertos for unlikely instruments. Like
> the contrabassoon. Or flugal horn. Or timpani. But I still haven't
> written anything approaching the complexity of a real concerto yet. :-(

Concerto for didgeridoo, alphorn, bass drum and triangle!

> Why derive it algorithmically? Why not just add another field to the
> track?

Follow a bread crumb trail around into around 30 different files and 
test all of that stuff, then translate all that stuff into a dozen 
languages, just so users end up having the privilege of typing lots of 
things twice?

I'd rather get it done with the least effort all around.  It's a 
compromise, but a reasonable one.  Trust me, I've been doing this a long 
time.  :)
-- 
D. Michael McIntyre

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