Am 12.06.2011 02:12, schrieb Nicholas Moe:
On p. 125 of my Gardner Read (1964), it says:
"To cancel the double flat and restore the original single flat, it
was formerly required—as cited in the rules on page 123—to write a
natural sign plus the single flat. Today the tendency is to use merely
the single flat-sign without the natural. It may be less academic, but
its meaning is perfectly clear, and it is simpler to write."
That is a different case!
You never would "go down" from a double flat by just writing a single flat!
On the other hand: in baroque music a sharp in front of a note that is
by the context a g-flat would mean g-natural. Even when the natural sign
was invented the flat was often used in that way (making transposition
from sight much easier!) The transition from a double sharp to a single
sharp normally would be indicated by a flat (or by the combination
natural-sharp in a time when naturals were in use).
In addition: when singing 19th or 20th century music I always have to
re-check the key-signature when I find a sharp in a environment of "many
flats" to make shure whether its a half tone up or a full tone - and end
normally up by making a mark of my own.
So for easy reading you should use the combination anyway.
Chris
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