I can answer on behalf of Presser, including Elkan-Vogel, Merion, and affiliates Coronet Press and Tritone-Tenuto.
Our house philosophy is to follow evolved standards which seem to be most transparent and automatic for performing musicians to play from; ironically for engravers, the best notation is that which isn't noticed. Depending on the style of the music, that could mean varying strategies with cautionaries or parentheses - this can have to do with the harmonic language and also the level of the music (student or professional). And the most important rule-of-thumb (that our composers all love) is to standardize notation except when there's a good reason not to; the good reason can be the composer's strong feelings about a notational element, or a gesture that's best expressed in a novel way. That means I clean up their notation on elements that don't matter to them but respect an individual composer's caring about certain things - which is actually pretty rare. Part of my work with composers is to figure out which quirks are just shortcuts or bad habits, and which they want to hold on to. PS: In 18 years, working with at least 300 composers and arrangers, only 1 has cared about (or even noticed) the question of naturals to cancel a key signature change from flats to sharps or vice versa. The Music Publishers' Association (of the USA) has a brief booklet on standard engraving practice which says either way is fine. _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
