{"id":528,"date":"2014-04-13T16:12:57","date_gmt":"2014-04-13T16:12:57","guid":{"rendered":"http:\/\/www.krammer.nl\/blog\/en\/?p=528"},"modified":"2018-11-23T19:36:33","modified_gmt":"2018-11-23T19:36:33","slug":"arranging-exercise-sharp-or-flat","status":"publish","type":"post","link":"https:\/\/www.krammer.nl\/blog\/en\/arranging-exercise-sharp-or-flat\/","title":{"rendered":"Arranging Exercise: Sharp or Flat"},"content":{"rendered":"

\"pijlen\"Whenever you write notes that are not in the scale, you have to choose whether to use a sharp or a flat. In most instances only one of them is correct, if you take into account the harmonies. In this exercise, you will be choosing between these two.<\/p>\n

The exercise is like this. Each time there are given two alternative notations of a short chord progression. Both versions sound the same. Point out the correct version, the left or right one:
\n\"Kruis<\/p>\n

Here are the questions<\/a> as a pdf file and the answers<\/a>.<\/p>\n

Explanation to the answers:<\/p>\n

    \n
  1. The B-flat<\/i> is the minor third in the chord GM6<\/q>. Another way to explain this answer is: the note B-flat<\/i> is borrowed from the parallel key of D<\/q> minor.<\/li>\n
  2. The C-sharp<\/i> is the major third in the chord A7<\/q>. This note is borrowed from the key of D-major.<\/li>\n
  3. The B-flat<\/i> is the seventh in the chord E@79<\/q>. The C-sharp<\/i> would be a sharp six, and that is a non-existing addition.<\/li>\n
  4. The G-sharp<\/i> is the major third in the chord E7<\/q>. That chord is the secondary dominant for AM<\/q>. Thus, the G-sharp<\/i> is borrowed from the key A<\/q> minor.<\/li>\n
  5. In the key of F-major the chord D@<\/q> is the lowered sixth degree. This harmony is borrowed from F-minor. The variant with the sharp is a raised fifth degree, which hardly ever arrises.<\/li>\n
  6. In this case, both answers are correct. In the chord D7<\/q> is added a color. You might interpret this as a sharp fifth (an A-sharp<\/i>), but you might interpret this as a flat six (een B-flat<\/i>) as well. Both answered can be argued for. A chord with a sharp fifth is more common than one with a flat six. But on the other hand, in the key of G-major, the tone B-flat<\/i> is a lot more common the than A-sharp<\/i>. Pure harmonically, the A-sharp<\/i> is a bit more correct, but a lot of musicians notate the B-flat<\/i>, simply because it is easier to read.<\/li>\n<\/ol>\n\n