Looking again at the original score, I see that the natural appears only
at the *beginning* of the next movement, not all the way through; that
is, it's treated as a *change* of key signature. That should make it
easier: we just need to put a single natural sign between the clef and
the time signature in one place. In fact, perhaps the simplest approach
is to use
\generalsignature{0}%
\zchangecontext%
at the *end* of the canon movement. Does anyone have any experience with
modern music-typesetting conventions in such cases?
Bob T.
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