Enharmonic Key Signatures: Does it make a difference?

[timothyvanwing]

I have thought about this and I do not completely understand it.
 
 If there is an enharmonic key signature (sounding exactly the same, but spelled differently) why wouldn't we just use one?

Some say that it changes the color of the song and paints a totally different picture. I don't understand how this can be since it sounds exactly the same.

Like, C# and Db for example. They both sound, but one has sharps and the other has flats. So if a song is in Db and you transpose it to C#, would it not sound identical? 

[invictious]

If I may just direct you to this thread for a good start: https://www.pianostreet.com/smf/index.php?topic=11202.0

Yes, that Scriabin's etude Op. 12 No. 8 would have been tons easier to read if it were in Db minor!

[stiefel]

I think the feel of a key signature under the fingers and the physical contour of the key signature on the manual determines the "character" of a key signature.  Obviously the actual pitch isn't what creates this association because the pitches of instruments have changed over time.

Also, the limitation and the range of the piano help determine what character a key signature has.  For example, if a piece makes extensive use of the lowest "a" on the piano, the piece won't have the same effect if it is transposed up a step or two.  There is definitely something special about playing the actual lowest note or notes that would be lost in a different key.  Beethoven's Appassionata in f minor makes extensive use of the f that was the lowest note for Beethoven at the time.  Scriabin's op 42 no 5 uses the lowest a frequently, and transposing the piece upwards would change the feeling of the interpreter, which in turn changes the sound for the listener.

Overall, it's not the sound that's important, but rather the feel, the contour, and limitation of the instrument that are important.

[zezhyrule]

Key Signature =/= Key

Just so we're clear on that.

As for whether different keys have a different "feel" to them, I'm not sure. I'd like to say yes, since a lot of the major composers for piano seemed to think so.

[slobone]

It would be nice to be able to say, composers choose the key signature that requires them to use the fewest double sharps or double flats. But alas I'm pretty sure that's not the case.

I'm working on a Rachmaninoff piece write now where he repeats the identical phrase twice in the left hand, and notates it the first time with a Db and the second time with a C#,  because the harmony in the right hand has changed in the meantime. Now THAT's finicky.

[werq34ac]

I have thought about this and I do not completely understand it.
 
 If there is an enharmonic key signature (sounding exactly the same, but spelled differently) why wouldn't we just use one?

Some say that it changes the color of the song and paints a totally different picture. I don't understand how this can be since it sounds exactly the same.

Like, C# and Db for example. They both sound, but one has sharps and the other has flats. So if a song is in Db and you transpose it to C#, would it not sound identical? 

They somehow "feel" different. Don't ask how it works, it just feels different.