Thanks for the insight, you touched on a really good point with the aspect of how music "looks" as opposed to how it sounds. As an ear-oriented musician myself, I've only recently become interested in the written form as a way of deepening my understanding of composition concepts, or as applies to Logic, a way of transcribing classical scores using the software. Symbols and even key signatures used in written music still boggle me, and when you're step writing in matrix view, it's somewhat irrelevant. I recently transcribed a piano work, arranged it for orchestra and jazz trio, and the sax part involves a lot of slides, trills and pitch bends. For sure, Logic would be hard pressed to interpret that in score form, and I'd probably end up tweaking it in that "F" program before presenting it to actual players.
However, Logic's scorer is a good start in that direction, and would be my tool of choice for composition and arrangement. Where Score Editor comes into play for me most significantly is, as mentioned, transcribing symphonic compositions by, say, Stravinsky, Debussy, Chopin, etc. I have a good ear for pitch, melody and harmony, but listening to an orchestra, the ear can pick out only so much. I'll do a lot of note entry in the matr... I mean, "Piano Roll" (makes me want to transcribe Nancarrow!), and use score view for proofing what I do against the original. But I think that process would go a lot quicker if I got accustomed to using Score Editor directly for note entry, and any and all tips for making that go more smoothly would be a Godsend.
So that was my main motivation for requesting a score tutorial, and your approach for making the transition from sound to appearance (and vice versa), um, SOUNDS like a great way to go, and I look forward to that tutorial you mentioned!
* solo *