Author: kdk ★2017
Date: 2016-09-23 07:14
brycon wrote:
> I think it's a matter of idiom more than composer. In non-tonal
> music, accidentals are rarely good in different octaves (a
> great deal of non-tonal music doesn't assume octave
> equivalency). Music notation software treats accidentals in the
> same way--at least Finale does.
Finale drives me crazy when it assumes if I've changed a C to a C#, that another C immediately after it returns to natural (and marks it). So, inputting a series of the same accidental requires repeating the alteration for each one. Not my idea of an ideal model.
I'm not so sure that tonal composers are in any way consistent about applying accidentals over octaves. Some, especially, I think, the French, do it differently throughout a single piece. Look at the Klose scales.Through Bb minor, the chromatics (there are no key signatures) are not repeated in the second octave. We know for certain they still apply. Beginning with Gb Major, they are repeated in each octave as if they wouldn't have applied otherwise. In the Twenty Studies later in the book, he repeats the chromatics in each octave, again implying that they wouldn't have applied without the marking. Mostly.
You really need to look at the full context.
Karl
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The Clarinet BBoard
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