{"id":2654,"date":"2016-03-27T22:51:22","date_gmt":"2016-03-27T20:51:22","guid":{"rendered":"http:\/\/www.krammer.nl\/blog\/?p=2654"},"modified":"2021-05-01T23:36:23","modified_gmt":"2021-05-01T21:36:23","slug":"kruis-negen-of-mol-tien","status":"publish","type":"post","link":"https:\/\/www.krammer.nl\/blog\/kruis-negen-of-mol-tien\/","title":{"rendered":"Kruis negen of mol tien"},"content":{"rendered":"<p><img decoding=\"async\" class=\"alignleft wp-image-6944\" src=\"https:\/\/www.krammer.nl\/blog\/wp-content\/uploads\/Thumbs-9-300x300.jpg\" alt=\"\" width=\"150\" height=\"150\" srcset=\"https:\/\/www.krammer.nl\/blog\/wp-content\/uploads\/Thumbs-9-300x300.jpg 300w, https:\/\/www.krammer.nl\/blog\/wp-content\/uploads\/Thumbs-9-150x150.jpg 150w, https:\/\/www.krammer.nl\/blog\/wp-content\/uploads\/Thumbs-9-768x768.jpg 768w, https:\/\/www.krammer.nl\/blog\/wp-content\/uploads\/Thumbs-9.jpg 800w\" sizes=\"(max-width: 150px) 100vw, 150px\" \/>Neem het akkoord met de volgende tonen: <i>c<\/i>\u2009-\u2009<i>e<\/i>\u2009-\u2009<i>g<\/i>\u2009-\u2009<i>bes<\/i>\u2009-\u2009<i>es<\/i>. (Je komt deze samenklank ook tegen met een <em>dis<\/em> in plaats van een <em>es<\/em>.) Hoe noteer je die samenklank in akkoordsymbolen? In de <small>VS<\/small> schrijven de meeste muzikanten <q>C7&gt;9<\/q>. In Nederland schrijft men veelal <q>C7&lt;10<\/q>. En het schijnt dat die laatste schrijfwijze in de vroege jaren van de jazz ook in de <small>VS<\/small> gebruikt werd.<\/p>\n<p>Hoe kunnen we kiezen tussen deze twee mogelijkheden? Er is voor zowel <q>C7&gt;9<\/q> als <q>C7&lt;10<\/q> iets te zeggen. Als je wilt benadrukken dat akkoorden opgebouwd zijn uit tertsen, gebruik je de eerste schrijfwijze. De noot <i>dis<\/i> is dan een verhoogde negen. Als je deze samenklank waarneemt als een dominant-akkoord waarin een toon uit mineur is toegevoegd, dan geef je de voorkeur aan de <q>C7&lt;10<\/q>. Geen van deze manieren van noteren is beter dan de andere. Ik denk dat er in beide zienswijzen evenveel waarheid zit.<\/p>\n<p>Maar twee manieren van noteren voor \u00e9\u00e9n soort samenklank is niet slim. Als we allemaal dezelfde akkoordsymbolen gebruiken, zal het schrijven en lezen van daarvan sneller gaan. In de <small>VS<\/small> hebben de muzikanten blijkbaar gekozen voor de versie met <q>*9<\/q>. Als je het mij vraagt, kunnen we ons in Nederland maar beter daaraan conformeren.<\/p>\n","protected":false},"excerpt":{"rendered":"<p><img decoding=\"async\" class=\"alignleft wp-image-6944\" src=\"https:\/\/www.krammer.nl\/blog\/wp-content\/uploads\/Thumbs-9-300x300.jpg\" alt=\"\" width=\"150\" height=\"150\" srcset=\"https:\/\/www.krammer.nl\/blog\/wp-content\/uploads\/Thumbs-9-300x300.jpg 300w, https:\/\/www.krammer.nl\/blog\/wp-content\/uploads\/Thumbs-9-150x150.jpg 150w, https:\/\/www.krammer.nl\/blog\/wp-content\/uploads\/Thumbs-9-768x768.jpg 768w, https:\/\/www.krammer.nl\/blog\/wp-content\/uploads\/Thumbs-9.jpg 800w\" sizes=\"(max-width: 150px) 100vw, 150px\" \/>Neem het akkoord met de volgende tonen: <i>c<\/i>\u2009-\u2009<i>e<\/i>\u2009-\u2009<i>g<\/i>\u2009-\u2009<i>bes<\/i>\u2009-\u2009<i>es<\/i>. (Je komt deze samenklank ook tegen met een <em>dis<\/em> in plaats van een <em>es<\/em>.) Hoe noteer je die samenklank in akkoordsymbolen? In de <small>VS<\/small> schrijven de meeste muzikanten <q>C7&gt;9<\/q>. In Nederland schrijft men veelal <q>C7&lt;10<\/q>. En het schijnt dat die laatste schrijfwijze in de vroege jaren van de jazz ook in de <small>VS<\/small> gebruikt werd.<\/p>\n<p>Hoe kunnen we kiezen tussen deze twee mogelijkheden? Er is voor zowel <q>C7&gt;9<\/q> als <q>C7&lt;10<\/q> iets te zeggen.<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[52],"tags":[],"class_list":["post-2654","post","type-post","status-publish","format-standard","hentry","category-4-pianospel-en-harmonie"],"_links":{"self":[{"href":"https:\/\/www.krammer.nl\/blog\/wp-json\/wp\/v2\/posts\/2654","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.krammer.nl\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.krammer.nl\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.krammer.nl\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.krammer.nl\/blog\/wp-json\/wp\/v2\/comments?post=2654"}],"version-history":[{"count":26,"href":"https:\/\/www.krammer.nl\/blog\/wp-json\/wp\/v2\/posts\/2654\/revisions"}],"predecessor-version":[{"id":6959,"href":"https:\/\/www.krammer.nl\/blog\/wp-json\/wp\/v2\/posts\/2654\/revisions\/6959"}],"wp:attachment":[{"href":"https:\/\/www.krammer.nl\/blog\/wp-json\/wp\/v2\/media?parent=2654"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.krammer.nl\/blog\/wp-json\/wp\/v2\/categories?post=2654"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.krammer.nl\/blog\/wp-json\/wp\/v2\/tags?post=2654"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}