On 27/07/18 14:10, David Kastrup wrote: > Torsten Hämmerle <torsten.haemme...@web.de> 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. > Or does she want the music played in that particular tonic scale ... bear in mind enharmonic tuning is assumed because that's the way you have to tune a keyboard, but not all instruments are (or can play) enharmonic. And in those cases F-flat is very definitely not E. Hint - if any notes are written as resting your finger on the string but not pushing the string against the neck ... a not uncommon technique in guitar playing.
Cheers, Wol _______________________________________________ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
