Thank's for your comments, Don and Christian > And BTW that should clearly be a g# in bar 114, by comparison with the > other 2 times the same thing happens).
I checked the source: there is clearly no sharp at this point. But I agree with your opinion that this does not mean there soudn't be played one. I'll put an editorial accidental in the next revision. > However, it is not always straight forward what to do: there > might a significant information with a *missing* accidental in a bar > where other notes of same pitch *have* an accidental. A modern editor > can't escape choices and the resulting musical interpretations. This is one point why I decided not to change anything with respect to the source. There are some places where the interpret has to make a choice. Therefore it should be visible without doubt what the source tells. And then as typesetter you have to decide where's the borderline between a "pure" transcription into another notation system and an interpretation. Another point is the intonation. I made once as an ensemble singer the experience with Heinrich Schuetz's Cantiones Sacrae where we have an edition dating from the 60es and one from Fridrich Spitta (about 1880). It turned out that the modern edition was completely unusable when playing the continuo on an organ tuned in middletone tune due to transposed notation (chiavetti, transposing key combination). In the sixties editors were not aware of that tradition writing in transposed notation. When turning back to the old Spitta edition I realised that even the problem of intonation, which note has to be thought low or high, is immediately solved. It is just visible where you have to do what when using the old way of writing accidentals since it is consistent with respect to intonation, the modern is not, since a natural means sometimes higher, sometimes lower. Thus you have always to analyse its actual harmonical context where you directly see it in the old system. Thus, I don't see it as teaching when I "force" other people to read the old system by publishing scores this way. It's a question of practical use. When getting in contact the first time with early music on a somewhat "higher level" by reading several of Harnoncourt's essays I couldn't imagine that what he is telling about old tuning systems could become true for me. But now I really hear wrong notes when someone is playing Frescobaldi or singing Monteverdi without respecting the middletone tune. Thus, we still may happen to escape our first training. However, in the next revision I will add some sentences in the preface to clarify this point. Bernhard _______________________________________________ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
