Note alterations should be key-aware

I'm pretty sure I've seen this problem with wrong enharmonic spelling being reported already.
(Edit) Beleive this is it: #13163: Accidentals incorrect after courtesy accidental when changing key signature, marking this as a duplicate for now...

You can force your score to be 're-spelled': Menu/Notes/Pitch Spell

I don't hink this is the same thing as that other bug - iI don't thonk courtesy accidentals are involved here. But i don't fully understand, either. Are you you are finding situations where you type G, hit the up arrow, and get an Ab? I don't see that, regardless of what key I'm in. If you are seeng otherwise and have steps to reproduce, that would help, I'm sure.

However, if you're saying that typing A and then hitting down arrow should also produce a G#, then I would strong disagree. Just because you are in the key of d doesn't mean there would not be Ab's, and there needs to be a way to enter them, amd hitting A then down arrow is that way. It is simply incorrect to assume that this note should always be spelled G#. it depends on the harmonic context (is the underlying chord an E7 or Bb7, for instance), and in the case of non-harmonic tones, on the direction of the line (G-G#-A, but A-Ab-G).

The case of C# versus Db in the key of D is a bit fuzzier. Indeed, mostly of the time, it should be C#, but that too depends on the harmonic context. It's just that we don't ofte see, for example, Bbmi chords in the key of D. If hitting down arrow from D produced a C# in the ley of D, that wouldn't break my heart, as long as there were a way to override this.

??? I didn't say anything about the key of A. But hitting down arrow from A in the ley of A should produce either an Ab or G# (debatable), but definitely not a G. But still, the arrow key absolutely must work a half step at a time. Otherwise, it wouldn't wo rk to select a whole ranw of notes and then use the arrows to transpose it - you,d have some notes transposed more than others!

When I speak of harmonic context, I don't mean the piece in general, I mean the specific harmony underlying the specific passage in question. An Ab absolutely *can and should* occur in the key of A, if the underlying chord at that point is Fmi (for example). Or, to name a much more common situation, if the underlying chord is Bb7.

There are also outstanding requests for a one key "change enharmonic spelling" command, and if down arrow from A produced a G# in the key of A, but then you could hit the key to change it into Ab, that would be fine, I think. You could also use the courtesy accidental keys to force this (enter A, then enter a "courtesy" flat), I guess.

feel free to reopen it then...

This issue. As a duplicate if won't get worked. If it is not a duplicate it won't get fixed.

Hmm.... I don't get what you don't get ;-)
If you don't think this issue here to be a duplicate of the one I found, reopen it.
Otherwise this issue won't get fixed, while the other will (or at least stands a chance)

Well, Marc Sabatella apparently is of the opinion that this and the other issue are not duplicates.
Still this one is marked as such.

Yes, I think the example of htting the down arrow from A while in the key of A makes sense. It was the original description that spoke of doing this in the key of d (minor) that didn't.

There is a certain logic in the current way, where down arrow always produced flats (or the equivalent naturals) and up always produces sharps (or the equivalent naturals), but it's equally logical to have it work where a diatonic note is chosen where possible and only introduce accidentals where necessary, which is basically what you're saying. One could say that is already the case for hitting the down arrow on C and F, where the ordinary logic is pushed aside and preference is given for B and E as opposed to Cb and Fb, even in cases where B and E also require accidentals. I'd personally rather see this changed to what you are now suggesting - choose a diatonic spelling if possible, otherwise, choose flats for down, sharp for up. Again, though, there definitely needs to be a way to override this default. And I think a single key that flips the enharmonic spelling - a la Finale (not sure about Sibelius) would be ideal.

Not sure what you mean by "accidental alterations" in this context. Do you mean the accidentals listed in the palette? Those are the ones I've been referring to as "courtesy accidentals", because that what they are normally used for. Yes, as I said, they could be used to provide overrides, but a single "change enharmonic spelling" command would be more efficient, because you could apply it to a whole bunch of notes at once, or apply it individually to a bunch of notes in a passage without having to keep switching between natural and either sharp or flat.

As for what up and down "have" to do, I just can't see why they *have* to do any such thing; the current system is completely logical as well and works just fine for what it is. It's just less efficient in certain cases, and hence I would welcome the change you are proposing, as it applies to cases like hitting down arrow on A in the key of A.

The situations in a respell command that works on the currently selcted notes comes in most handy are for passages that result from MIDI input - whether import of a MIDI file or step time entry. Whatever rules MuseScore uses to decide on how to spell a given non-diatomic pitch, it's guaranteed to be wrong a significant amount of the time, and given that the correct spelling of pitches normally depends on harmonic context (eg, the chord of the moment), it often works out that you'll have a whole bunch of notes in a row all mispelled. Selecting the whole passage and hitting a single key to correct the spelling would aave a lot of time in those cases. For instance, in the key of C, you might have a passage that should goF#-G#-A# over an E7 chord, but then later in that same piece have a passage that sould go Gb-Ab-Bb over an Ebmi7 chord. The MIDI input will notate them both the same way, and then you'll need to respell the other one.

Another case where respell comes in handy is in passages that result from entering notes in one key and transposing to another, particularly if it's only a temporary modulation for which an actual key signature change would not be appropriate. Or music without key signatures.

Anyhow, that's mostly beside the point. I do agree that down arrow on an A while in the key of A should probably produce a G# by default, as long as there is then an easy way to override this to get an Ab when desired.

Can someone make a proper and detailed feature request from this long discussion and close this issue?

Will do, and I am sorry for all the off-topic discussion.