Back to the topic, I didn't completely understand what Vlada was asking for myself -- do I get the idea that the requirement is to split a part in cases where there are lower notes that do not match the start and/or end times of higher notes?
Yes, and no! Take an simple case where you have only two voices (parts): bass and treble (look at that as simple composition for male choir - tenor and bass). At any time of composition you have one voice with higher pitch (ignore durations). All we need here is to split part into two, one with higher pitch and second with other notes. That would work just as select highest pitch and then cut - paste.
Even when voices start to harmonicaly overlap - one must be above other.
Second case,
If you have large number of notes of intermediate pitches - multi-voice stuff - one must be higher than others. Select only highest! And leave others unselected!
When two or more notes are nominaly the same, select one that will fit best in the rythmical pulse (starts at approximate ending point of previously selected note).
The same for lowest pitchest!
It sounds like something quite feasible for simple examples but potentially troublesome for more complex pieces, particularly where you might have a large number of overlapping notes happening at once.
That is not problem we're faceing here. Point of this is to speed up note editing, not to magicaly make extra-super-outstanding score.
On the other hand, let's present this as selecting tool - not spliting :)
Vlada
though the principle sounds OK to me for well-quantized input.
...very simple well-quantized input!
Vlada
Chris
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