On Wed 13 May 2020 at 14:59:10 (+0100), Paul McKay wrote: > If I'm writing music in F, then I suggest that I be able to use *bF* as a > pitch instead of *bf*. The *F* would indicate that all subsequent *b*s > would be flattened until one is encountered with a different accidental or > until the end of the current music expression. It should have the same > scope as \stemUp or similar.
The problem with that is that to find out what any particular "b" represents, you have to search backwards, note-by-note, looking for any such modification that might have been made to a "b" earlier. Any copy-and-paste manipulations become potential nightmares. Cheers, David.
