Hi Gabriel,
> Below is a relevant example from real music. The musical context: The key
> signature has five sharps. Then, there is a system break with a key-signature
> change to five flats.<image.png>
> <image.png>
>
> The parenthesized B-flat note head is not actually a custos note; it is not
> referring to the note that follows after the system break. But its style is
> very close to the style for modern custodes that I have in mind, so I think
> it is a useful example.
I use this kind of thing all the time in my music, and see it often in musical
theatre scores I work with — basically any time an enharmonic is encountered or
would be helpful to the performer, especially (but not always) across a
modulation or key signature change.
I usually just code it using \afterGrace:
%%% SNIPPET BEGINS
\version "2.25.32"
\language "english"
{
\key fs \major
\afterGrace { \tweak NoteHead.extra-spacing-width #'(0 . 0.5) as'1 } { \once
\omit Stem \tweak Parentheses.font-size -3 \tweak Parentheses.padding 0.1
\parenthesize bf'4 }
\key bf \major
bf'1
}
%%% SNIPPET ENDS
It would be easy enough to turn that into a music function, so one could say
e.g.
\hint as’1 bf’4
Hope that helps!
Kieren.
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