Accidentals on tied notes in modernist options

“Easy to understand” is a significant (and loaded) phrase. Some maintain, of course, that in the context of highly chromatically saturated music, having accidentals re-shown within tied notes makes a score clearer and easier to read and understand.

I have been toying with the idea of using that approach in scores while not doing so in parts (other than at system breaks). Not sure if I love the idea philosophically, but it does at least get at something significant about the distinct meanings of “ease” and “clarity” in those two very different modes of music-reading and performance.

And to amplify a point @johnkprice made, I would add that one might wish to use Dorico to produce a critical edition of a work, in which case reflecting the composer’s notational practice would be the only correct thing to do.

This makes sense with how the needs of directors and players can differ. The director needs to see cross-relations and other tricky notes as easily as possible, while the players usually only hear these and mostly need the notes in their own part to be clear.

I agree on the other points, too.