Addenda et corrigenda: I was mistaken, my example shown wasn't an example of D-sharp, but actually D-natural. So the order of accidentals is comprehensible.
This becomes clear when taking the preceding measure (at the end of the preceding line) into account: <http://lilypond.1069038.n5.nabble.com/file/t3887/fuchs-accidentals2.png> The original D-flat will be turned into a D-natural and from there (!) into a D-sharp. There is no need for a natural sign because the preceding D-natural. In the next bar, the first sharp seems to be a cautionary accidental (reminding of the D-sharp in the preceding measure) with a natural directly behind, yielding a D-natural again. In any case, the multiple accidentals are quite unnecessary, the ITM edition was published in 1959. The only thing I can think of that the composer wanted to explicitly point out the direction of the alteration with respect to the preceding accidental. In this case, a D-natural without preceding sharp would imply an alteration up from the key signature's D-flat, where actually it's a down-alteration with respect to the preceding D-sharp. But this is rather speculative, but at least this way of seeing it makes some sense to me. All the best, Torsten -- Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html _______________________________________________ lilypond-user mailing list [email protected] https://lists.gnu.org/mailman/listinfo/lilypond-user
