Graham Breed wrote: > If there's some intuitive reason for choosing different logical > equivalents, perhaps that should be reflected in different pitch > alterations anyway.
This was certainly one thought going through my head. Though it's not something I write myself, I was also thinking somewhat of Ben Johnston's notation for just intonation, where each successive addition to the accidentals (up/down arrows, 13 or upside-down 13, + or -) represents a successive refinement of the pitch. This second case might well be best dealt with via 'tweaks' instead of accidentals in the conventional case. > The idea is you can only have one set of quartertone symbols at a time, > but you can use a \tweak or \override to switch between sets. I have > proof of concept examples for pure/mixed Sagittal. > > The cheating looks fine until you want to do transpositions. > Transposing C up-a-quartertone up by the same quartertone won't give C > sharp, for example. If you think it should that's an indication you're > treating quartertones equally, of course. That's an interesting point. It hadn't occurred to me that this might be an issue -- I don't think I will be using quarter-tone transpositions in my own writing any time soon -- but I'll do a couple of experiments to see if I can get my cheat to deal with this possibility. _______________________________________________ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
