Torsten Hämmerle <[email protected]> writes: > B~M wrote >> It appeared in the "Fantasy Etudes for >> Viola" written by >> Lillian Fuchs who was a significant contributor to Viola in the USA. > > > Hi Paul, > > Thanks for this background information. > Lillian Fuchs' expertise is beyond all possible doubt, and I apologize for > suspecting ignorance. > Moreover, her 16 Fantasy Etudes have been published by a renowned company, > and so this strange orthography may be well-founded. > It'd be interesting to learn about her motives, but, unfortunately, she > can't answer anymore.
Enharmonics in violin/viola music can be used for maintaining a position-dependent correspondence between fingering and notation in preference over scale and notation in the rare situation where those differ (usually being able to play/notate a diatonic run aligns those two objectives pretty well on those instruments). I don't know the music in question, so I cannot vouch for either. Just a suggestion of what might motivate some string composers to choose particular notation. -- David Kastrup _______________________________________________ lilypond-user mailing list [email protected] https://lists.gnu.org/mailman/listinfo/lilypond-user
