Strozzi’s scores are generally more detailed in providing accidental signs than was the norm in her time, but their unwonted thoroughness complicates the handling of passages with unsigned notes that might appropriately be raised or lowered according to the context. Since Strozzi was so conscientious in supplying signs in situations where performers were most often left to be guided by rules of common practice, it seems possible that the omission of signs in some other passages might indicate a preference for uninflected pitches, rather than simple conformance with prevalent casualness of pitch notation. This essay examines passages in which modern performers and editors have frequently added accidentals according to modern performance practice norms, in many cases significantly affecting the way the music sounds, where Strozzi the (usually) detailed editor might have supplied accidentals had she wanted them.