Re: Transposition with arrow quarter-tone notation

[fenevad]

I'm rather late to this discussion, but it describes something quite similar
to my need. I'm working with music from Central Europe where there is an
established tradition of two levels of accidentals that correspond quote
closely to what Joseph arrived at. The only real difference is glyphic. In
this case, rather than combining arrows with the standard accidental symbol,
the arrow is put above the note, quite close by it. So, for instance you
could have a natural sign on an D with an up arrow over the D, in which case
it's n D quarter sharp. On the other hand, you might have a D sharp with a
down arrow over it, in which case it is a D sharp quarter flat. Note that if
the key signature already modifies pitches, the arrows modify the pitches
specified in the key signature, so if D is already sharped in the key
signature, you wouldn't have both the sharp sign and the down arrow. (The
actual pitch difference indicated by these symbols is pretty imprecise too)

When I look at Joseph's solution the two levels of accidental are integrated
into one symbol, which is fine, but rather different visually from the
established tradition I'm working in. The Feta font doesn't have these sorts
of arrows (↑ and ↓). I can easily enough insert them as markup, but the
problem then is that Lilypond doesn't respect that these arrows have a
priority over slurs and certain other sorts of markup, so it treats them
like textual elements and puts them in the wrong place.

Does anyone have any idea of how I might be able to get these to be
automatically tied to certain notes? In most of the cases I'm working with
the pitches will all be up arrows and I would be happy to map cih, fih and
gih to the notes plus these glyphs (those three instances would cover about
95% of my immediate need).

Thanks in advance for any insight anyone may have.

Arle
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