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Schroeder - Harmony and theory. A Comprehensive Source for All Musicians

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Schroeder Harmony and theory. A Comprehensive Source for All Musicians
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    Harmony and theory. A Comprehensive Source for All Musicians
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This book is a step-by-step guide to Musicians Institutes well-known Harmony and Theory class. It includes complete lessons and analysis of: intervals, rhythms, scales, chords, key signatures; transposition, chord inversions, key centers; harmonizing the major and minor scales; and more!

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Table of Contents Appendix I Chord Symbols C hord symbols are the way - photo 1
Table of Contents

Appendix I: Chord Symbols

C hord symbols are the way that songwriters, arrangers, and players communicate written harmony to one another in the practical world of popular music. Any system of symbols is subject to interpretation by different people in different locations with different backgrounds, and chord symbols are no exception. Certain chord symbols are internationally understood, while others are local and quite prone to misinterpretation. Because of the constantly evolving nature of popular music and the fact that many if not most of the musicians performing it are not formally educated, it is unlikely that any one set of chord symbols will become and remain the acknowledged standard. The best approach is to be flexible, developing a consistent set of rules for naming chords that avoids vagueness and redundancy, while at the same time understanding the ambiguities of many traditional or regional names. Much of the communication between musicians, after all, depends much more upon the ear than the eye, so sometimes just playing the chord and reacting to the sound itself is more efficient and meaningful than debating the interpretation of a written symbol.

General Rules for Naming Chords

Taking into account the many ways in which chords may be symbolized, here are some general rules and recommendations worth noting.

  • When no symbol follows the chord letter, a major triad is assumede.g., the symbol C by itself stands for a C major triad.
  • The numbers 7, 9, or 13 alone next to the chord letter means that the chord is a dominant-quality chorde.g., C9 is C dominant ninth.
  • The symbol ma, meaning major, is never used with a chord letter alone, as in Cma. It is always used together with 7, 9, or 13, as in Cma7, Cma9, or Cma13, and means that the chord includes a major seventh.
  • The symbol for a minor triad is the letter name of the chord plus mi, as in Cmi. The same symbol is used together with numbers to indicate other minor-quality chords such as Cmi7, Cmi6/9, Cmi11, etc.
  • If the seventh is present in a chord, added tones are numbered as extensions. For example, adding a sixth to a C7 chord results in C13. If the seventh is not present, the added tone is numbered as a simple interval, e.g., C6.
  • Chords with extensions are symbolized by the highest extension present in the chord. For example, C13 indicates a dominant seventh chord quality with an added thirteenth. (The other extensions may or may not actually be voiced in the chord, depending on other factors.)
  • The symbol + refers to the augmented fifth only, not an augmented ninth or eleventh. For example, the symbol C+9 means C dominant 9 augmented fifth, not C augmented ninth.
  • All alterations are written in parentheses, such as Cmi7( Picture 2 5). When more than one alteration is present, they are shown one above the other, with the largest alteration on top, such as Picture 3 ).
  • Picture 4 11 chords may contain a natural fifth degree, but Picture 5 5 chords do not.
  • Eleventh chords may contain a third, but sus chords do not.

The following is a reference list of chord symbols based on the principles listed above. Also included are some common names that you should learn to recognize but that should generally be avoided due to their ambiguity. While it may never be possible to achieve total consistency in the world of chord symbols, a common-sense regard for clarity will go a long way.

TRIADS

SYMBOLNAMEAVOID
CC majorCma, Cmaj
CmiC minorC-, Cmin, Cm
C+C augmentedC(#5), Caug, C+5
CC diminishedCdim, C(no7)
CsusC suspended fourthC(addF), C( Picture 6 3)

SEVENTH CHORDS

SYMBOLNAMEAVOID
Cma7C major seventhC7, C, C7+, CM7
Cmi7C minor seventhC-7, Cm7, Cmin7
C7C dominant seventhC7, C(+7), C( Picture 7 7)
C+7C dominant seventh augmented fifthCaug7, C7( Picture 8 5)
C7C diminished seventhCdim7, Cm6( Picture 9 5)
Cmi7( Picture 10 5)C minor seventh (flat five)C, C-7(-5), C
Cmi(ma7)C minor (major seventh)Cmin, C-7
C7susC seventh suspended fourthC7 4

ALTERED CHORDS

SYMBOLNAMEAVOID
Cma9( Picture 11 5)C major ninthC9(-5),
Cma13( Picture 12 11)C major thirteenth (sharp eleven)Picture 13
C7( Picture 14 9)C dominant seventh (flat nine)C7-9, C Picture 15 9
Picture 16C dominant ninth (flat 13, sharp 11)Picture 17
Picture 18C dominantthirteenth (sharp 11, flat nine)Picture 19
C+7( Picture 20 9)C augmented seventh (sharp nine)Picture 21

TRIADS WITH ADDED NOTES

SYMBOLNAMEAVOID
C6C major sixthCmaj6th, C(addA)
Cmi6C minor sixthC-6, Cm+6
C6/9C major six-nineC6(add9), C13(no7)
Cmi6/9C minor six-nineC-6(+9), Cm13(omit7)
C2C major add twoCma(add2), C9(no7)
Cmi2C minor add twoC-(+9), Cm9(omit7)
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