Luis Pablo Gasparotto wrote:
>
> Excuse me. I did some kind of mistake when I loaded the attachments.
> The PMX file I've used to get transpose.dvi uses is:
>
> Ar
> K+5+6
> % Measure 1 - 4
> a44 as b bf | e44 es ef en | b44 bs bf bn /
> % Measure 5 - 8
>
> So, my question is how to avoid double sharps.
>
and my amswer is still that within the frames of tonality it doesn't
make any sense to avoid them (or the corresponding double flats).
Remember that when you notate a piece of music in some defined key like
A major as in your example then all tones of the music are fundamentally
referencing the corresponding scale. As I wrote in my first answer to
your posting a scale may be described as a well defined pattern of major
seconds (MA) and minor seconds (MI), for example a major scale:
MA MA MI MA MA MA MI
This pattern remains unchanged whatever pitch forms the base of the
scale. Hence if you are raising one of the tones of your music by a
minor second you'll want to indicate that relatively to the
corresponding note of the base scale. If we look at the first bar of
your own example transposed a minor sixth up from A major to F# major
then the second note is to be understood as a chromatic alteration of a
note representing the 1st step of the base scale.
When the music is played by an instrument tuned in the equal temperament
most commonly used in western European music culture then the listener
will not hear any difference between a pitch played by the musician
reading g natural or f double sharp. But the musician will most probably
be confused by seeing the g natural rather than the f double sharp
because she expects the notation to be consistent with the key indicated
by key signatures in the score. On the background of her knowledge of
the tonal music tradition she'll immediately recognize the correctly
notated f double sharp as a chromatic pasing-note (Durchgangston, nota
de paso) while the notation as g natural will make her exclaim 'what the
h... is going on here?'
The above explanation of the logics of accidentals (Versetzungszeichen,
accidente) relates to music based on major and minor scales. If we're
speaking of that part of contemporary music not making use of tonality
in that respect then it'll often not matter that much whether a pitch is
indicated with one or another accidental. That is for example true for
serial music which you'll find represented in the Icking Archive as
works by Heinz Irsen (Sonatine f�r Blockfl�te und Klavier), the works by
Alexandros Droseltis or "�a ira?" by yours sincerely.
Hope that hilfts
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01 - http://www.scandiatransplant.org
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