Hans Åberg <haber...@telia.com> writes: >> On 27 Sep 2020, at 19:31, David Kastrup <d...@gnu.org> wrote: >> >> Hans Åberg <haber...@telia.com> writes: >> >>>> On 26 Sep 2020, at 18:04, Dan Eble <d...@faithful.be> wrote: >>>> >>>>> On Sep 26, 2020, at 09:41, Dan Eble <d...@faithful.be> wrote: >>>>> >>>>> On Sep 26, 2020, at 08:55, Werner LEMBERG <w...@gnu.org> wrote: >>>>>> >>>>>> >>>>>> Despite Gould's “incorrect” verdict, here is an example from an old UE >>>>>> edition of Liszt's “Liebestraum No. 1”, which demonstrates that ties >>>>>> over clef changes *do* happen and make sense sometimes... >>>>>> >>>>>> I still think that LilyPond should support that, handling the tie like >>>>>> a slur in this case. >>>>> >>>>> That's a very good example. It's hard to imagine any reasonable >>>>> alternative. >>>>> >>>>> What kind of grob would an editor expect here? a Tie because it >>>>> connects notes of the same pitch, or a Slur because it connects >>>>> notes at different staff positions? (or something else?) >>>> >>>> I'll answer my own question. A tie from d♯ to e♭ generates a Tie >>>> grob, so for consistency, this should be a Tie that looks like a >>>> slur. >>> >>> The notes d♯ to e♭ have different pitches in the staff notation >>> system, which cannot express E12 enharmonic equivalents, so this is >>> slur. So it should be a slur that looks like slur. >> >> We are talking about a piano here. It has no different keys for d♯ and >> e♭ and only a single manual. A slur even across the same pitch will be >> executed with a separate keypress as opposed to a tie. > > If you look down the thread, there are two different questions, when > expressing it in the staff notation as is, and when forcing E12 > enharmonic equivalents onto it. > > And not all pianos are tuned in E12, as in the case of meantone > tunings.
I repeat: It has no different keys for d♯ and e♭ and only a single manual. Yes, I know about historical split-key instruments but that is not what a modern piano composer is writing for. >> I seem to remember that even in Bach's B minor mass (where E12 was not >> yet a thing) there is an enharmonic tie (or at least tonal repetition?) >> in the transition from "Confiteor" to "Et expecto". I mean, that >> transition is a tonal center nightmare anyway. >> >> I'd have to consult my score to pick out the details. > > It would be of interest. Lukas has picked out the bar elsewhere in the thread. -- David Kastrup
