Some good music defies good notation.
I’m conducting a piece right now with a complex and beautiful melody that soars over a chord progression moving backwards through the circle of fifths. The result is that it moves quickly from many sharps to many flats. It sings beautifully but looks ugly on the page. And as I told my students, that’s not the arranger’s fault. I strive for clarity in both my writing and my notation, but sometimes its’ simply impossible.
In a recent composition of mind, there’s an ostinato between a G# Major chord and an E Major chord. I’d prefer to see it as an Ab Major chord, but the enharmonic tones between Ab and E make that too tricky to read. So I’m left with a B#, thanks to the G# major triad. Is that desirable? No, not at all. But it’s what’s available when there are no good solutions.
This is all to say: sometimes composers, especially academically trained ones, can be hampered by what looks clean on the page. But sometimes we can write good things that don’t look good on the page. Sometimes there’s no good solutions. So we take the solutions that are left and we move on.