dwardzala
However, there is one part that I don't necessarily agree with, and that is the inserting a new note on where the break is.  If you have a long duration note which modulates or changes over time, or has a very distinctive attack, it may not be appropriate to have a note on signal at the break.  I would prefer that the notes be deleted completely as it makes far more sense from a musical perspective.

Maybe there is a way to identify "a long duration note" that starts in the previous bar but carries over the bar line into the section you want to cut? A couple thoughts: identifying it with a different color. Or a dotted line or arrow, showing that a note was cut, before or after the edit points.

Tunerman

dwardzala
However, there is one part that I don't necessarily agree with, and that is the inserting a new note on where the break is.  If you have a long duration note which modulates or changes over time, or has a very distinctive attack, it may not be appropriate to have a note on signal at the break.  I would prefer that the notes be deleted completely as it makes far more sense from a musical perspective.

Maybe there is a way to identify "a long duration note" that starts in the previous bar but carries over the bar line into the section you want to cut? A couple thoughts: identifying it with a different color. Or a dotted line or arrow, showing that a note was cut, before or after the edit points.

That may make sense during the actual cut operation, but I can't see its utility after that since I don't have much of a problem keeping track of such things now. And since the excluded note should be wholly contained within the truncated clip's extents after the operation, I would probably expect that the truncated clip's new boundary be automatically re-extended to include the entire duration of the excluded note, often later in time than the bar marker depending on its duration. This hanging end would be pretty obvious.
 

Cactus Music
What I don't understand, really, is why this works so perfectly in 8.5?? 
I just tried the same project which became a big mess in our latest flagship version of Sonar, and opened it in 8.5 on my old back up DAW machine. The operation worked flawlessly and took no time at all. Why do the new versions make a mess of re-arranging songs?? Is this as stated, the addition of take lanes??  

I think so. Take lanes are buggy. Things like cut/copy/paste, splitting and merging clips confuse them and generally create a mess. I hope Cakewalk will clean up the issues here.

Tunerman

dwardzala
However, there is one part that I don't necessarily agree with, and that is the inserting a new note on where the break is.  If you have a long duration note which modulates or changes over time, or has a very distinctive attack, it may not be appropriate to have a note on signal at the break.  I would prefer that the notes be deleted completely as it makes far more sense from a musical perspective.

Maybe there is a way to identify "a long duration note" that starts in the previous bar but carries over the bar line into the section you want to cut? A couple thoughts: identifying it with a different color. Or a dotted line or arrow, showing that a note was cut, before or after the edit points.

MIDI complicates things a bit because the note's start and duration are determined by the "note on/off" MIDI events which are discreet moments in MIDI, but result in sound being heard in-between those events.  However, I think the solution should simply be the same as if we split a MIDI clip now and moved the clips apart. 
 
The first clip would show the MIDI notes suddenly cut off at the end of the clip (where the sound would end too).  And the second clip would show the rest of the MIDI notes (but you'd hear no sound due to the absence of the note on command).  The user could then slip-edit to manipulate those MIDI notes that cut across the boundary.
 
Alternatively Sonar could offer to create note off/on events at the split clip boundaries, which I can see as being useful though might sound strange in some cases. 
 
Either way, my main concern is over the AUDIO editing to end up sounding the same whether you moved sections of a mixed down stereo file, or its constituent track parts.  The result should be the same.  I think the MIDI editing could be worked in so that it is the same, except for those notes that cross a split bioundary.
 

Ripple Edits!!

Announced June 1st as "in development"

Yes :-)