[John Howell (on newer tendency to omit naturals in key signature change):]
>I could be wrong, but the change I think I've seen between late 19th
>century orchestral engraving and 20th century engraving is not a
>change in whether to cancel accidentals, but in where to put the
>cancelation. Cancelling before the bar line gives a warning;
>cancelling after the barline sometimes makes a real mess that the eye
>can't grasp intuitively.
Perhaps we've seen different scores - but this doesn't tally with what I've
observed. Keeping the naturals but having them before the bar-line is something
I first saw in Debussy's piano music many years ago, and I have rarely seen it
since, and I thought it was simply a mannerism he adopted for some reason. I
think I have seen this in reproductions of his manuscripts, so it is obviously
done by the composer himself, as against his publisher.
I have seen it occasionally since then, but not often. The common
alternatives, as I have observed them, remain either to omit the naturals, or to
include them (in their normal position of after the bar-line but before the new
key signature).
Regards,
Michael Edwards.
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