Which key signature to choose if there are many accidentals?

TheSimon wrote:

I agree all the way.

I used the term "rigid" in the sense intended by lewenok, namely "bound to the rules of classical writing".

I understood, but the classical world is now a bit broader than what is commonly thought (I am speaking in general) and by necessity includes stuff from 50 years ago. By now, a extit{grattato} is as historicized as a extit{pizzicato}, including its notation.

So...

i've seen the videos. As an amateur in compositional matters, I was stunned. Then, in hindsight, I thought that indeed one cannot just throw oneself into the deep end and think of composing contemporary music while ignoring the existence of contemporary notation.

My difficulties are linked precisely to this. That is, to the fact that I would like to express certain things with the piano, but I do it with what I know, which is classical notation that, all things considered, is simple by comparison, from what I have been able to see.

Now I wonder if I am making a mistake by participating in a contemporary piano music competition with a score that is limited by classical notation, which is the only one I know.

However, I don't think it is mandatory to use modern notation, if the composer who uses classical rules can still manage to express on the score what they wish to play.

As I was saying, innovative notation is born from a necessity. If "classical" notation already gives you all the tools you need to pour your ideas onto paper, I don't see the need to introduce innovative symbology.

Knowing music theory to be able to read any score is one thing, and writing what one feels closest to one's own aesthetic is another. If you are inspired by neo-romanticism, you will probably use only a part of semiography and semiology. This does not change by a single comma the concept of caring for one's musical thought and its consequences during score writing. To take the argument to the extreme, even the rallentando at the end of a piece can be considered performance practice; therefore, every desiderata should be indicated in the score, and especially after Ravel, Debussy, Mahler, how could it be any different?

I can only thank the users who helped me clarify this matter:

ScalaQuaranta, Frank and TheSimon

In this forum, I am learning a lot of things.