{"id":623,"date":"2014-04-22T20:01:58","date_gmt":"2014-04-22T20:01:58","guid":{"rendered":"http:\/\/www.krammer.nl\/blog\/en\/?p=623"},"modified":"2018-11-23T19:59:16","modified_gmt":"2018-11-23T19:59:16","slug":"arranging-exercise-sharp-or-flat-ii","status":"publish","type":"post","link":"https:\/\/www.krammer.nl\/blog\/en\/arranging-exercise-sharp-or-flat-ii\/","title":{"rendered":"Arranging Exercise: Sharp or Flat II"},"content":{"rendered":"

\"pijlenHere is part two of the exercises in which you have to chose between notating a sharp or a flat.<\/p>\n

The exercise looks like this. Indicate whether the left or right version is more correct:
\n\"Kruis<\/p>\n

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

Explanation:<\/p>\n

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