First, the sheet music question: I think that for any really large works a plug-in would probably get pretty unwieldy. Years ago, I was heartened to see Finale produced as an application that could be run as a ReWire device. Many of us were waiting for it and once it happened, we waited for someone's DAW to get "talking" to it. And we waited. We waited some more. Cakewalk did finally allow one to run Finale as a ReWire, but there was no real communication between except for them running concurrently. Cakewalk had their own "Overture" notation SW before that, but eventually sold it off, giving up on the idea of getting Cakewalk and Overture to seamlessly integrate. The best I've seen so far is Studio One and Notion, unless one wants to go Cubase. What one does in Studio One shows up in Notion and vice-versa.j wazza wrote: Sat Mar 26, 2022 10:37 pm for jazz that makes sense, its a balance though as repetition can be a good thing, if something sounds good i wanna hear it again, it can get stale if repeat the exact same thing over and over, but it can also sound a bit unconnected if there isnt any repetition at all, most music does have some repetition, at least 1 part like a bass that repeats and other parts changing over the top, this is a great example that has a repeating bassline throughout but keeps it fresh with other parts changing
do you mean in your music every part is always changing, or there is always at least 1 thing changing?
that sheet music vst seems like a gap in the market if it doesnt exist as it seems like it should definitely be doable with a vst
As far as repetition is concerned, it really depends on the piece; ostinato basslines are an obvious jazz technique that gets a fair amount of mileage, but even in that scenario, I like to add glissandi, slides, small fills, and other ornaments so that the line is not static. The last composition I finished (last week actually) was a through composed tone poem for choir, children's choir, and piano. In that piece and for only the opening section, there was a piano motif that I repeated against the opening children's vocal (which did not repeat). After that, nothing repeated exactly. Since it was through-composed and a tone poem (at least for this tone poem), there weren't repeating sections either: it was a straight-through form. Yes, one could say that there were demarcated sections in a sense, but they did not repeat (ala AABA or some identifiable structure).
