On 16 Feb 2009, at 23:14, Kees van den Doel wrote:
E.g., D Ep F (F 20 cent flat, so actually D Ep and Ep F are
the same
interval)
If the musical function or intent is that these intervals should
be
equal, then the note is F#pp, that is, a double koron.
Cute, I never thought of that! However it does't quite work because
the *approximate* 20C fat
is independent of the koron (which is *approximately* 40C). So the
equation
'>' = "#p' is an exact constraint.
That is why I mentioned musical function: if it is that D Ep and Ep F-
lowered should always be equal, then the note will always be F#pp,
regardless what the koron is set to.
If one the other hand, it is just lowered an indefinite amount for
stylistic reason not attempting to achieve equality of these
intervals, then it is a different musical function, resulting in the
pair independent of the koron-sori one, resulting in a new
intermediate pith relative to the diatonic notation system (regardless
whether you want top print them or not in the score).
Anyways the 20C flat note is not considered an accidental, not
notated, inconsistently used, and
irrelevant for notation.
On the other hand, if it is lowered an unspecified amount, then
when
transposed, you will need another symbol that raises an interval
so
that the sum is M-m.
If you look at the persian.ly file I sent, you will find the symbol
for that I think (a blank).
So it means that you have two notational symbols, both printed as a
blank: in a transposed situation, you may have to use the other. It is
not very intuitive - so even though it is not explicitly notated, it
might be good to be able to do so.
Hans
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