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.
_______________________________________________ lilypond-devel mailing list lilypond-devel@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-devel
