Composer choices in notation . . .

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Folks--

Those of you with a knowledge of theory, or a music major, will have to help me on this one. 

I have a belief that some of the difficult notation one sometimes encounters is unnecessary.   Examples ------------>

1.  Extreme use of leger marks.  Where several measures are up above C6 or in the deep bass such as the C1-B1 range.   Cure:  Avoid these by use of the dotted line with the V8 notation.

2.  Passages riddled with double accidentals.  Cure:  change the key signature.  Some of this occurs because the composer wishes to change keys without changing the key signature.  Cure:  Change keys in the signature.  Formally changing the key is often done by some composers, e.g., Chopin, but  rarely or never by others (MacDowell).

3.  Confusion as to which hand is to play a note or notes. This is easily clarified if the composer wishes to do so.  Cure:  put note stems up for the right hand notes, stems down for the left hand.  (Myra Hess uses this in her transcription of "Jesu."  And many other examples can be found.)

Any other examples?   People may not realize that composers have a lot of latitude in how they choose to write their notation.  The piece will sound the same either way, but sometimes it is more easy to read if the notational choices are wisely made by the composer.

[quantum]

1. In the past keyboard music had more than two standard clefs.  Composers would use the clef which placed most notes on the staff.  In cases where there is a mix of extreeme ledger line notes plus notes on staff, it may not be practical to use 8va notation.  Keeping pitches as written also give you a guage to how seperated notes actually are from each other.  Eg: Scriabin 7th sonata. 

2. This depends the context of a key change, more specifically it's duration.  Different durations of a key change can have very different effects on the music.  Tonisizations are short, and usually dont' warrant key signature change.  Modulations are longer, but may only last for a few phrases.  Key change for an extended period along with deliniation of a new section of a piece may warrant key signature changes. 

3. A score is descriptive not perscriptive (also applies to #2).  The object is to present the notes and their function relative to each other in the clearest way possible.  This may sometimes mean that hand division are more obscure.  Imagine learning a Bach Fugue notated for the hands rather than to outline the fugal subjects.  Knowing which notes belong to which voices may become verry confusing.  Leave the job of assigning notes to fingers with the finger numbers and line divisions. 

[alzado]

Thank you very much for writing such an intelligent and helpful reply.

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