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From: | Joseph Rushton Wakeling |
Subject: | Re: Microtonal accidentals |
Date: | Fri, 08 Nov 2013 09:57:05 +0100 |
User-agent: | Mozilla/5.0 (X11; Linux x86_64; rv:24.0) Gecko/20100101 Thunderbird/24.1.0 |
On 07/11/13 22:21, Keith OHara wrote:
The use of two alterations, natural-up and sharp-down, for the same pitch where the note-head is on the same staff-position is problematic to read. I would hope that composers choose one glyph and use it consistently within a piece.
Your notational preferences (and mine) aren't really relevant here. The fact of the matter is that this arrowed notation is one of the two major "standard" forms of quarter-tone notation, so it's a good idea for Lilypond to support it properly in a way that is simple for the user.
This is what I looked into. It seems to me that systems with finer intervals are necessarily more frugal and more systematic with the symbols they use to denote the alterations. I found no other cases where two symbols are conventionally used to represent the same alteration.
Some composers have used the half/three-quarter sharp and flat accidentals for quarter-tones while using arrows for eighth-tones. The same issue arises, just for a different set of pitches.
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