{"id":1001,"date":"2016-03-27T21:40:05","date_gmt":"2016-03-27T21:40:05","guid":{"rendered":"https:\/\/www.krammer.nl\/blog\/en\/?p=1001"},"modified":"2018-11-24T21:50:32","modified_gmt":"2018-11-24T21:50:32","slug":"1001-2","status":"publish","type":"post","link":"https:\/\/www.krammer.nl\/blog\/en\/1001-2\/","title":{"rendered":"Sharp-Nine or Flat-Ten"},"content":{"rendered":"

\"sharp\"<\/a>The chords consisting of the notes C<\/i>, E<\/i>, G<\/i>, B-flat<\/i> and E-flat<\/i> (or D-sharp<\/i>), how is it notated? In the States most musicians will write C7>9<\/q>. In The Netherlands however, it is common to notate it as C7<10<\/q>. And in the early days of jazz, the latter way of writing seems to have been more common in the States as well.<\/p>\n

How do we choose between these two? Both the notations C7>9<\/q> and C7<10<\/q> make sense. If you argue chords are built up from thirds, you would prefer the first way of writing. The note D-sharp<\/em> then is a raised ninth. If you perceive this harmony as a major chord with a flavor of minor in a major chord, you might prefer to notate the harmony as a major-minor chord, thus as C7<10<\/q>. Neither of these views is better than the other. I think both interpretations are equally true.<\/p>\n

But having two ways of notating a single harmony isn’t wise. If we all use the same signs, writing and reading chords will be easier and faster. Apparently in the States musicians settled for the *9<\/q> version. If you ask me, in The Netherlands we better conform to that notation method as well.<\/p>\n\n