In message <[EMAIL PROTECTED]>, John Chambers <[EMAIL PROTECTED]> writes >Bernard Hill writes: >| My suggestion is that accidentals are in lower case, keys in upper. And >| if the key name is missing then C is assumed. >| >| K:A ^b is F# C# G# and Bb. >| K:A =c is F# and G# >| K:_b^f is Bb and F# >| >| K:_b is Bb >| K:C _b >| K:F >| >| and the last 3 are equivalent of course. > >No, the accidentals should be case sensitive. I might not care about >this, personally, but I've seen the explanations. When the topic has >come up in the past, several people have pointed out that there are >musical styles that use different accidentals in two octaves. The >examples I've seen are from southern Asia.
So how is it notated *as a key signature*? - because that's what we're talking about. I am happy to have accidentals on individual notes but we are talking ks here. > >I've seen this done in Middle-Eastern music too, with scales like: > >K:D=C_E_B^c > >where the C is different in the two octaves. > >We really shouldn't exclude these musical styles when it's so easy to >include them. We've had inquiries on the list from people who play >Persian and Indian classical music. It would be interesting to see >how well it works for them. Again, what's the ks? Bernard Hill Braeburn Software Author of Music Publisher system Music Software written by musicians for musicians http://www.braeburn.co.uk Selkirk, Scotland To subscribe/unsubscribe, point your browser to: http://www.tullochgorm.com/lists.html
