Michael Ellis <michael.f.el...@gmail.com> writes: > Yes! Spelling does count because poorly spelled music is much harder > to read. I'm somewhat less convinced regarding sonic differences on > untempered instruments because the matter is more complicated than > that, e.g G# as the leading tone to A is different from G# as the > third of E. In practice, it comes down to the performer's ear to make > those distinctions.
I have asked someone about a "quint register" in a virtual accordion, and while I have not heard it myself, his opinion is that this register is a _tempered_ fifth above the normal sound (namely, "in scale"). I tend to believe him, even though it would imply that someone had no clue about what he is supposed to be doing (or did not have the material/samples to do this properly). I've long ago come to the painful realization that it is a mistake to rule out that possibility. I am not sure that a performer with a manually-pitchable instrument will overly obey enharmonic information against his own ear. Writing functionally, however, will help with recognizing chord patterns. There are curious things like keyboards (cembali, I think) with split black keys that can be tuned to make use of that distinction, but I would suppose that the players of such rare beasts are versed enough to apply the right choice even against notation. -- David Kastrup _______________________________________________ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
