Sorry for the late reply. > [...] I have occasionally noticed the ambiguity created between a > key signature involving a single accidental on the same line as the > following note and the accidental not belonging to the key signature > but applying to the note, I don't recall noticing how treacherous it > is when it is a key change to a single accidental without any key > cancellations. I wonder if Gould has anything to say about this,
There is nothing about this topic in her book – at least nothing I could find after thouroughly checking it. > leaving a large space in this case does ameliorate it, putting the > key change before the barline would be much clearer. Well, but this is not how it is done. Attached are some examples that demonstrate quite wide spacing after the key signature. Four different composers, four different publishers. * Jehan Alain, Œuvre d'orgue Tome I, p. 9 (Leduc) * Frédéric Chopin, Nocturne op.48, p. 63 (Schirmer) * Claude Debussy, Préludes Vol. 1, Nr. 4, p. 14 (Durand) * Edvard Grieg, Lyric pieces, Nr. 51, p. 156 (Peters) Note that not all pieces in my selection have the same wide spacing after key signatures; I just want to show that such a wide spacing is not uncommon, especially if there is plenty of horizontal space available. My conclusion is that you have to adjust the spacing value to your taste, more or less. I agree that LilyPond's default value is on the large side, and maybe it makes sense to slightly reduce it. Werner
