"Show Selected Regions Only" possible in score editor?

Hello everyone,

I'm working on a wind ensemble piece right now, and
would LOVE to be able to see only selected regions
from the arrange editor in the score editor; e.g.
when I select my 4 trumpet parts in the arrange
editor (each on its own track) that I would see only
those 4 selected parts and not every instrument.
Right now, with the "purple chain" activated I see
all parts, and with the "yellow chain" activated it
only shows my most recently selected part. However,
when I double click on the background (like I would
to display selected parts in matrix editor) it
displays ALL parts, and I cannot seem to find a view
that changes this reality.

So, if you were working on a piece and wanted to only
see a few selected tracks in the score editor, what
would you do?

Simple. Select the 4 trumpet parts i.e. in the full score view of the Score Editor or on the Arrange page. In the Score editor local window called "Layout" scroll down to "Create Instrument Set from Selection."

With the purple link on lock your screenset.

Done.

Thank you VERY MUCH for your tip! Another quick

question for you though. I tend to work using
multiple regions per track (or "player") and copy and
paste regions frequently from one instrument track to
another (e.g. clarinet to flute, tuba to bass
trombone, etc). Is there a way to make the TRACK that
the regions are located dictate its appearance?

For example, if I move my clarinet track (Bb
transposition) to the flute track (a concert pitched
instrument) I have to manually reset that
transposition back to C for that region, that is if I
remember and dont go crazy looking at the score! Is
there a way to apply the transpositions to the track
instead of the region, to which the regions
automatically conform?

Thanks again! I dont think the above is possible, but
then again I dont know the score mode well at all so
who knows! 🙂

I don't think so but perhaps assemble the regions you want on a given track, merge them, and then assign a score style to the new merged region.

In regards to having different instruments at different concert pitch, I perfer to keep them all in C in the score and when I am done, then transpose them. That way I can hear the pitches that I see and it is easier to see chords.

On the same topic, I use show selected regions only alot in the matrixedit, and I would like to toggle that on and off but there dosent seem to be a key command for it. I thought everything in Logic's menus had a key command?

In regards to having different instruments at
different concert pitch, I perfer to keep them all in
C in the score and when I am done, then transpose
them. That way I can hear the pitches that I see and
it is easier to see chords.

Transposing parts via the transpose feature of each individual score style has no effect on the actual heard pitch. It's a "visual transposition" only. So you could very well transpose your parts to appear properly for each instrument (and conductor's score) but still hear concert pitch of each instrument using this method. And, if you're not already adept at reading, say, alto or tenor clefs, or even regular transposed parts (clarinet, viola, various brass, etc.), editing your score while it's transposed makes for especially good self-training in this area.

On the same topic, I use show selected regions only
alot in the matrixedit, and I would like to toggle
that on and off but there dosent seem to be a key
command for it. I thought everything in Logic's menus
had a key command?

There isn't a key command for this, and I don't see how there could be. If you had multiple regions selected and then opened the Matrix editor, how would Logic know which region you wanted to see?

On the flip side, I could see how it would be easy (logically/software) to figure out which was the last region you selected, and have a key command/menu item which would cause the matrix editor to show this region in the event that multiple regions were selected.

Transposing parts via the transpose feature of each
individual score style has no effect on the
actual heard pitch. It's a "visual transposition"
only. So you could very well transpose your parts to
appear properly for each instrument (and conductor's
score) but still hear concert pitch of each
instrument using this method. And, if you're not
already adept at reading, say, alto or tenor clefs,
or even regular transposed parts (clarinet, viola,
various brass, etc.), editing your score while it's
transposed makes for especially good self-training in
this area.

I am not an expert score reader, so analyzing pieces that have intruments in various concert pitches is confusing to me. I play both Eb and C pitch instruments, so I get confused sometimes when switching between them. If I see an 'A" for example on the score, I want to hear 440hz in my head. If I am writing counterpoint between say a C flute and Bb clarinet, I find it much easier to have them both in C as it is easier to see and hear harmonic intervals in my head, not in Logic, when both are in the same concert pitch. It is good self training for odd clefs however.

When I select multiple regions in the Arrrange and I go to the matrix editor, I double click on the matrix to show multiple. Then I have to go uncheck or check show selected regions only, as sometimes I want to see all regions in the song and sometimes I only want to see the synths or trumpets for example, which I would have selected. It would be nice if I could punch a key command in the matrix to toggle between just the selected regions and all of the regions in my project



Mac OS X (10.4.5)

hmm. this depends on the kind of music you're writing. very often i prefer to see the imstruments in their written pitch, because as i was studying, scores were written in their tranposed pitch, and i now know the timbre, quality, and characteristics of every pitch for every instrument. knowing this informs how you write for them.

i do write a lot more in concert pitch now but i have to do the translation backwards to be sure i know what i am doing. working with mock-ups now takes the hard work of relating concert pitch to the characteristics of the instrument, but you still need to be aware of physical and technical considerations, so i still need to think.

what you can do, is cut and paste the notes from one stave in the score to the other, rather than cut the objects in arrange. when you paste into the clarinet line in score where the score style has been set, the notes will be displayed in there correct transposition.