On Fri, 24 Jun 2011 19:59:02 +1000 bruys wrote:
I'm looking at Dover's PIANO MUSIC OF ROBERT SCHUMANN: SERIES I which is a reprint of Breitkopf & Härtel, originally printed between 1879 & 1887.On page 179, 5th system, 2nd bar, there is an extra natural before the d#. No other d's in sight, but the key signature is f minor. That would seem to be an example using the feature.
What piece falls on page 179? Nevermind, while guessing I found the B&H publication of Schumann Nachtstrück number 3 (Op 23) which has a veritable orgy of extra accidentals. It was edited by the same Clara Schumann who edited the Symphonic Etudes (Op 13) where Edward Neeman showed us that she _omits_ the extra-extra-natural when writing a sharped note that would otherwise be flat. Are you saying you want LilyPond to have a feature to produce all of these naturals automatically ? or that Clara Schumann would have appreciated it (too lat for that) ? LilyPond intended to follow the (old) standard, and the textbooks quoted say the old custom was to put an extra natural when a single alteration follows a _double_. If they meant to include gis to ges they could have said when an alteration follows a _different_ alteration. On Thu, 23 Jun 2011 08:45:45 +1000 brys wrote:
I came across a further reference, in Richard Rastall's The Notation of Western Music (2nd edition), [...] you'll see that he explicitly refers to cancelling single accidentals. He is talking about the rise of the notation of tonal music, and mentions Bach's Well Tempered Clavier on the same page.
What does he say about canceling single accidentals? Around the time of Well-Tempered Clavier people were still using a sharp sign to indicate E-natural in the key of B-flat, so using a single natural sign to indicate E-natural could actually be worth mention in that context.
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