I would really welcome any input from those of you who have experience with this problem:
For years, I used midi strictly as a sketch-pad prior to writing a real (classically-oriented) score for real (classical) players. Then I discovered higher-end orchestral samples, got tired of waiting for easy access to good (real) orchestras , and decided to put my heart into my virtual scores first.
Although I often sketch my lines and parts out on paper beforehand, I now enter them via my midi keyboard. As a result, they now breathe better, and more often than not possess the magic that can happen in real performance (at least in the terms of time).
But here's the problem (as I'm sure you've already anticipated): the magic often lies between the cracks of conventional/acceptable-to-read notation, and rendering the parts into user-friendly notation often destroys the sense and meaning of the more subtle midi performance (again, in terms of time).
Here's an example: Over a four-part texture that was written in strict quarters, eighths and sixteenths, I played in two more parts, each moving outside of the meter and around the beats, to create a kind of harmonically moving, free-floating, two-note cluster. I was delighted with the over-all effect: it captured the very feeling I'd been looking for.
When it came time to consider how it would look in a real score, I took a look at every note's Start Position, in terms of bars/beats/16ths/ticks (I use Cubase SX3). Of course, none of them lined up with the usual subdivisions of the beat, and none of them lined up with other bar- and beat-subdivisions (like quintuplets, septuplets, etc). I naively rounded everything off to the nearest main subdivision (16ths or 8th triplets), and the result was a complete disappointment. I then spent many hours experimenting with rounding everything off to finer subdivisions -- 32nd notes, and 16th-note triplets -- always trying to keep the proportional relations between the two parts (and their relation to the 'fixed' parts) close to the original. The final result was something that's still not easy to read, and that only hints at the original's magic.
How do you approach this problem -- that is, the problem of translating the timing of a midi-keyboard 'performance' into the fixed and rigid requirements of a (classical) score, for classical musicians?
Thanks, in advance, for sharing your perspectives on this!