pijlen 2Here is part two of the exercises in which you have to chose between notating a sharp or a flat.

The exercise looks like this. Indicate whether the left or right version is more correct:
Kruis of mol II

Here are the exercises as a pdf file and the answers.

Explanation:

  1. The second chord may be interpreted in more than one way. It might be a EM^9 or an B<6/D#. In both ways the bottom note is C-sharp and not D-flat. The latter hardly ever occurs in E-minor.
  2. The first chord is F7sus4. In that chord there is a four instead of a heightened three, thus it should be B-flat and not A-sharp.
  3. In this case both answers are possible. You might interpret the second chord as a CM>5, but as well as a A@/C. Personally I prefer G-sharp, because in my view the chord CM is sounding and the fifth is shifting chromatically.
  4. You might describe this harmony in two ways. Some musicians call this a power chord (a chord without a third) plus a ninth. Others call this an Esus2. In any case, the addition has to be interpreted as a second (F-sharp) instead of a lowered third (G-flat).
  5. The finale chord is D6. The addition thus is a B and not a C-flat.
  6. In this case both versions are possible. Theoretically actually the second option is better. Mostly the chord is interpreted as an F7>9. The sharp-ninth should be notated as a G-sharp. Yet most pianists prefer to write an A-flat, because that note a more easy to read in the key of B@. In the Netherlands the harmony is usually notated as an F7-10 or F7<10. But in the Anglian countries musicians hardly ever use this addition, so for the Dutch I don’t recommend this use.