The new key signature following the end of the system at the first line is an "End of System Courtesy", which apparently is provided to give musicians and vocalists a visual cue that the key signature has been changed . . .

THOUGHTS

NOTION 6 does this automagically when you are in certain views (Page Across and Page Down), but not in Continuous view, which is the view I use for several reasons, perhaps foremost of which is that I use NOTION 6 to play virtual instruments and second of which is that I do not use repeats, ends of systems, and all that stuff . . .

Everything I compose is played by virtual instruments, and I work with a continuous, horizontal timeline and to the extent possible with treble staves, the latter of which is possible in NOTION 6 due to being able to specify how notated notes are played (for example, one or two octaves lower or higher than notated) . . .

[NOTE: One of the curious and highly useful consequences of thinking in terms of patterns of dots on horizontal timelines is that you can use cascading echo units to create harmonies and counterpoint automagically. Using a continuous horizontal timeline makes it easier to adjust (a) the timing and duration of the primary notes and (b) the timing, duration, and relative volume of the cascading echo units. It takes a bit of experimenting to discover how to play into cascading echo units, and in some respects this is as much a producing skill as it is a composing and playing skill. It's similar to discovering how to whammy, but the rules are not what most folks imagine them to be, which on electric guitar is one of the reasons that so few guitarists do a lot of whammying. It can take a year or longer to discover the rules for using a Fender two-point synchronized tremolo bar (a.k.a., a "whammy bar"), where one of the rules is that you need to start a whammy before or after the beat in a quiet sonic space if you expect it to be heard, since it's basically a slide, so you need to allow time for the slide to be heard before or after the landing note . . . ]



I do everything in whatever key has no sharps and no flats, which depending on the way one interprets modes, probably is C Major or A Minor but insofar as I can determine also can be C Ionian (a.k.a., "C Major"), D Dorian, E Phrygian, F Lydian, G Mixolydian, A Aeolian, B Locrian, although at present this is mostly an educated guess (I Don't Play Lydian Mode A Lot) . . .

Since for this type of question that is focused on what I consider to be "proper music notation", I usually wait a while to see if other folks provide answers--a strategy which is based on the fact that I tend to avoid knowing too much about "proper music notation" for as long as possible . . .

Relative to another topic and discussion, one way to explain my perspective is that it's based primarily on (a) "by ear, (b) mathematics, geometry, physics, and psychology, and (c) dots . . .

When I cannot avoid creating some type of map for "by ear" phenomena, I switch into what one might call "Dot Mode", mostly because (a) music is patterns and (b) patterns are geometric and can be represented by dots . . .

In most types of music notation, notes are dots (solid, empty, with or without various types of "flag holders" and "flags"), where for example an eighth note is a solid dot with a flag holder and a single flag; a quarter note is a single dot with a flag holder but no flag; and so forth . . .

When I do a Dot Map for an instrumental part--usually for rhythm guitar, lead guitar, or both--I use a system of dots that makes sense to me; and here in the sound isolation studio I do not need flag holders, flags, strumming indicators, string indicators, or much of anything else other than dots . . .

[NOTE: If I know the proper name of a chord, then I include it, but otherwise I use an asterisk, mostly to save space, where for example the first chord is what I call a "Low Stormy Monday" or a "Low James Brown", which probably makes sense only to me, but so what. I call it "Low", because instead of the low note being on the low-pitch "A" string, it's moved vertically downward and the low note is on the low-pitch "E" string, which makes it logical for the highest note also to be on the same fret as the note on the low-pitch "E" string. Here in the sound isolation studio, when the bottom note is on the low-pitch "E" string, it's a "Low" chord; when the bottom note is on the low-pitch "A" string, it's a "Middle" chord; and when the bottom note is on the low-pitch "D" string, it's a "High" chord. They all are the same pattern, so what's important is where the chord is positioned vertically. For reference the following Dot Map is the Surf.Whammy "music notation" for the entire song (except the kick drum "click track"). This is one electric guitar, and what appears to be electric bass are just the low-pitch "E" and "A" strings being droned while the other stuff is played. Combined with the "click track", it sounds like there is an electric bass; but it's just one electric guitar part; and it probably sounds like there are more chords than there actually are, which is done by selective strumming. I don't use the chord names, so they are provided for people who use chord names. All I need are the dots and the fret numbers . . . ]







ANSWER TO YOUR QUESTION



[NOTE: Select the new key signature and then right-click on it to display the "Key and Time Signatures" context menu, where on the fly-out submenu you can hide the "End of System Courtesy". If you want to show it sometime later, click on the visible key signature and then right-click and choose to show it. Observe that hiding and showing key signatures is specific to the system. You can hide them for some systems but show them for other systems. It's not global for all systems . . . ]





Lots of FUN!

P. S. In some respects, the reason for using a perhaps unusual mnemonic system is that here in the sound isolation studio it's the only practical way to remember as many as four or five hours of songs without needing to use sheet music, especially when (a) you can read sheet music written solely on treble staves but (b) you can't play sheet music for your primary instruments . . .

[NOTE: I developed this mnemonic system when I was in junior high school and high school and was playing string bass and electric bass in nightclubs; so for me it's very intuitive . . . ]

I can sing from treble staff sheet music, but being a baritone or tenor I sing it an octave or two lower, which is fabulous . . .

Fabulous!