No key signature: Sharps of Flats?

Question

Ok, here is my question:

Many composers often prefered not to use key signatures for good reasons (Bartok, Stravinsky, Shostakovich etc.)... there seems to be little information out there on what conventions there are regarding this problem. How does a composer decide what accidentals to use (flats, sharps, double flats/sharps) when there is no key signature? I would be forever greatful if anyone could shed light on this?

(I had asked this question before. Yahoo must have taken my question for a comment and accidentally deleted it. Unfortunately I didn't get a chance to read the responses. I appologize for having to repeat it).

Yes, I mean how do you decide if it's a C# or Db? I have asked this question to 3 of my professors through my undergrtad and graduate years (in composition!) and no satisfying answer from anyone! I am embarassed to even mention this to my last professor who is now a friend of mine. I feel as though he feel uncomfortable for not knowing and answer. But I MUST figure this out somehow! Can anyone give a good prospective on this? Please!

Answer 1

I have not seen a hard and fast rule that covers this. The first thing to do is to decide on what notes to use for your melody and then use whatever method makes your music the most understandable. Try these ideas:

If you are not using a key signature because you modulate often and rapidly use whatever sharps or flats that will outline the key you are presently in.

Another way to decide is to follow the melodic line. If the line is going up use sharps - going down use flats, especially if half-steps are involved. Another part of this would be to try to write so that you don't have to constantly cancel accidentals with a natural sign. For instance write Ab to G rather than G# to G(natural) - the first way is much more readable and requires fewer signs on the page.

If you are writing 12-tone music you are going to have a set group of notes and accidentals. No problem here.

Again, what ever way you decide upon opt for the clearest presentation of your ideas. Performers appreciate music that is easy to read and you in turn get much better performances.

Musician, composer, teacher.

Answer 2

This can often indicate atonality from composers, especially those you mention in your question. No use of a key signature doesn't restrict a composer to that home key and gives them more freedom to explore tonality(ies) and progressions. It also can prove to be hell for some music theorists because of the ambiguity (see: Tristan Chord). Secondly, if they DO pick a home key for their composition, but decide to modulate until the last few measures of the piece, it would prove to be a visual assault of accidentals upon the performer. In cases such as those, it's easier to not indicate a key.

A composer decides on accidentals because of our standard music theory practices regarding progressions and tonality--sometimes the use of a sharp or flat, even if the note is the same (ex: E-flat/D-sharp) can alter the meaning of a chord and the music's progression altogether.

As our world of music has progressed since the 20th century, composers are daring to explore outside of our western music theory boundaries and breaking "the rules." This is the best explanation I can offer you without diving into mindless jargon. I hope that helps.
EDIT:
In response to your edit...

Deciding to use a C-sharp or D-flat relates to the key signature and the chords/progressions desired.
Let's say you want to play in the key of G-flat major. You decide to modulate to the dominant of the key ten measures later....if you use a C-sharp in place of D-flat as the root, while it sounds dominant, is not actually V of G-flat major when analyzed.

Answer 3

Dvorak, Bartok and other Eastern european often use this tool to create an ethnic sound related to the region in which they are writing, or the subject matter.

Scales are dodecaphonic - usual one we all know; pentatonic - five tones do, re, mi, soh, la - typically gaelic.
Melodic and harmonic minors.

Avoidance of key signature allows complete flexibility - if it sounds good, use it, but do so consistently within the piece you are writing.

From a technical viewpoint, though, a note is flattened on the way down and sharpened on the way up within a musical phrase: A going to F would be A or G flat, where as F going to A would be F or G sharp. I hope this simplifies the issue of how accidentals (or catastrophes if they sound awful) are actually written down!

Answer 4

Play the entire piece as per the score you have in front of you. After a couple of times decide for yourself what sounds the best - and here, whatever Notation the Composer has provided will definitely assist you..

The KEY is given just to help you to start the piece - thereafter it is not so relevant in the sense that the melody scales start changing after "x" bars and you are moving into another stream. of notes...not to speak about the changing harmonies. Webern, Wagner and Richard Strauss will make you realize the irrelevance of the Key.

Answer 5

Contemporary composers often use this technique to both avoid classifying their piece as 'in a certain key' or anything relative.
Even so, by listening to a piece it often identifies itself as to a key. Pieces written in a certain key are done that way for purposes only the composer can reveal, because they are the only ones who know it's rationale. If you haven't the advantage of perfect pitch, then you will have to develop a great relative pitch and use a piano or pitch pipe to aid your listening.
If a piece is written in sharp keys, the reason it was done so is brightness of the tone. Fact is, most tuners tune pianos brighter (higher) in sharps, which naturally dullens (flattens) flat key signatures. Enharmonic keys (such as Db/C#) can sound the way they do by pedaling and interpretive playing.
But for me to try to answer your question in short form is nigh on impossible, I'm afraid.

Answer 6

Like BearCat said make is easy for the performers to read....For example string players HATE reading Fb and Cb and also hate B# and E# so take that into consideration.

Answer 7

It depends on which key the composer is modulating into.
The composer uses sharps in a sharp key or flats in a flat key.

In a key which is heavy on sharps or flats, double sharps or double flats become necessary.

Answer 8

I'd go with Bearcat's asnwer - he has combined thebest elements of the various approaches from the last time you asked.

He is right on the money.

Answer 9

by playing. he/she doesnt just stick them in anywhere.

you go by sound.

or do you mean C# / Db?

Answer 10

Please clear the question