It is really cut and paste on he spread sheet. The composer works from rectangular arrays on his sheet, each cell a beat, potentially played in a pitch relative to the ledger note for that row. The macro generates the wave file from a large rectangle of measures. The ledger notes are a separate argument. So he is free to work on a separate sheet for drums, say; then cut and paste to the guitar score, taking the ledger notes with.
He can place measures in sequence or in combination, by setting the ledger size. But that ism usually automatic because the ledger notes for each instrument match their score. The grammar limits the composer to rectangular chunks of a specific size.
Then the composer moves pitch up and down for all or part of the scores, on a measure by measure basis. H can design specific score formats to match specific instruments, then work melodies using tonal shifts by step.
So, it is all cut and paste. The syntax consists of absolute forms like C12, D3 for ledgers. (These are immediately turned into numerical cycles per second) The relative syntax is h2#, for example, but this syntax assumes and implicit or explicit ledger note. The grammar is simple space filling of rectangular score sheet with note syntax.
This all stresses the 16 bit PCM system, but the composer should make sure he understands dynamic range issues, they have to be in his domain. He has to no about Diminish, I don't. But the repeat syntax will arrive sometime, on a measure basis.
How about different instruments?
The wave generator operates from a time domain sample of the instrument for the sharpest beat it makes. Then scale that up or down in time to get some collection of notes from the instrument.
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