Re: F-flat Key Signature

[Urs Liska]

Am 19.09.2012 16:21, schrieb David Nalesnik:
> Hello,
>
> On Wed, Sep 19, 2012 at 8:50 AM, Vaughan McAlley <address@hidden> wrote:
>
> > I appreciate the difference between sharps & flats more than many
> > musicians, but even I would introduce an enharmonic change rather than
> > use a key signature with a double-flat, if only to save time at
> > rehearsal:
> >
> > “Where‘s the B flat?”
> >
> > I explain there’s a B double-flat, and the key is F flat major.
> >
> > “Why didn’t you write E major?”
> >
> > ...to which I wouldn’t have a good answer, and wouldn’t be able to
> > explain to anyone even if I did :-)
Well, I think one could always argue that one writes f flat because it 
_is_ F flat (e.g. a major third below A flat rather than a diminished 
fourth). But as you say, it often is quite impractical, at least to have 
as a general key signature.
> >
> +1
>
> Here's an example of a modulation from A-flat major to F-flat major,
> but mercifully Schumann has spelled the new key as E major.  It's
> "Widmung," the first song at this link:
>
> http://petrucci.mus.auth.gr/imglnks/usimg/d/db/IMSLP51688-PMLP12732-RS120.pdf
>
> (Another example of this same key relationship with enharmonically
> spelled F-flat major would be #6 here:
>
> http://erato.uvt.nl/files/imglnks/usimg/6/68/IMSLP53594-PMLP02066-Schubert_Werke_Breitkopf_Serie_11_No_111_Op_94.pdf)
Of course there are (not so few) examples of unusual keys in romantic 
literatur. And of course it makes a big difference to modulate to E or 
to F flat. But usually composers prefer legibility over harmonic 
connections (at least on keyboard instruments). But it also depends on 
the context. If I have a single F flat chord (or one single chord 
progression) in a A flat context I probably would be very surprised to 
read E there. But if the music generally modulates to that key for a 
longer period of at least a few measures I'd rather expect the 
enharmonic version.

BTW it was also Schumann who stated that Chopin sometimes waited a few 
chord progressions too long before writing the enharmonic change.
> Best,
> David
>
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