Enharmonic key signatures

[Jaysne]

Some composers like to write in Gb as opposed to F#; some like to write in C# as opposed to Db. Why is this?

To take it one step further, why don't people write in the keys of Fb or D# or G#? I imagine it may have to do with those pesky double sharps/flats, but it seems if there is a good reason to write in one enharmonic as opposed to another, then there would be call to write in any possible key.

[NEB]

Now that really is an interesting questions to which I do not know the answer.

But I do wonder if it has anything to do with the way things sound and the darkness or lightness of certain keys against others. Also the tendency to write slightly differently in say C# as opposed to Db??????

All guesswork.

[Contratrombone64]

Jaysne - even Bach's great masterpiece the 48, uses enharmonic key signatures ... one of the fugues is in millions of flats whilst it's paired prélude is in millions of sharps. I think it boils down to personal taste.

[methodistgirl]

I can explain it. F# is Fsharp, G flat is the same note, Csharp is really
d flat,and last but not least d flat is d flat.
judy tooley

[Rachmaninoff]

even Bach's great masterpiece the 48, uses enharmonic key signatures ... one of the fugues is in millions of flats whilst it's paired prélude is in millions of sharps

A.k.a. "students screaming in horror".

[hawkan2580]

b keys are more mellow in sound then #. Maybe not so noticeable with a equal tempered tuned keyboard instrument(s) but really noticeable when involving instruments that's not tempered tuned, strings for example. Ab minor to my ear is amongst the most mellow chords there is, but G#minor is not. So this is the reason. When a composer, who is trained to write for an orchestra, writes for for just a piano, I think that the sound of the key and how it would sound orchestrated is so deeply cemented in the head of the composer that this dictates the key chosen.. hence, you probably found that something slow and in minor is more likely to be in a b key where as something up tempo is more likely to be in #.

Of course, then there is also the element of pure delight of being contrary for fun: write something in F#minor and insist that the violinists needs to keep things more flat in pitch because they are playing too sharp on all A, F# and C#... (had you been writing in Gb, that would not have been the case..) Of course, you might get a bow wound around your head or if lucky, just the "look" of the 1st violinist when they realize what is going on and they probably think you're fresh out of a composing class where you didn't do too well on the theory side.

Another really fun exercise is to have a song with a string arrangement using the note F# together in unison with electric bass and guitar.. that one is a real interesting one and the look on the string players trying to match the pitch is great! Definitely NOT the hand position they are used to go to when playing with other "normal" orchestrated instruments for that note.

[musicalis]

Hi !
Thanks Hawkan, I agree with you. I am an organisit, so :
In my keyboards, Db and C# are exactly the same, but not in my mind.
When I improvise in Db, I think it is a peaceful tonality and I play my melodies consequently, with slow tempo and soft organ stops.
When I think C#, I think to something harder, more violent, like a triumphal march and I usually improvise with plenum and reeds.
I do the same for Gb and F#, and I never compose in D#, I do not like it, in spite one of the key signature I prefer is Eb major.

Jean-Paul

[Muza]

very interesting indeed!

[Krummhorn]

Great point, Musicalis ...
I feel the same way about sharps and flats. I find flats are much easier to play ... although lots of great literature that I do play on the organ is in sharps. Karg-Elert has written many works in sharps and includes double-sharps (that dreaded "x" in the score) which I really have to struggle with. My favorite key signature though is D-flat - that key, beyond all others, is the most soothing sound when played softly and yet commands respect when tutti is employed.

[Daniel Palmer]

I like the 'obscure' keys - my favourite would have to be E-flat minor. I think Wikipedia has a page on each key with various interesting facts.

Daniel

[NEB]

Arrrrrgh Krummhorn - Cesar Franck is apt to use keys that lead to double sharps as well. Does my head in!

[methodistgirl]

Thanks Krummhorn. I couldn't have said it better.
judy tooley