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Carl Schroeder - Hal Leonard Pocket Music Theory (Music Instruction): A Comprehensive and Convenient Source for All Musicians

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Carl Schroeder Hal Leonard Pocket Music Theory (Music Instruction): A Comprehensive and Convenient Source for All Musicians
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(Book). Following in the footsteps of the popular Hal Leonard Pocket Music Dictionary , this handy pocket-sized book is the most contemporary music theory book on the market! A step-by-step guide to harmony and theory for every musician, it includes thorough, yet to easy-to-understand analysis of: intervals, rhythms, scales, chords, key signatures, transposition, chord inversion, key centers, harmonizing the major and minor scales, extended chords, modulation and much more. Packed with info from the Harmony & Theory course at Musicians Institute!

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

Appendix: 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 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 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 13as in Cma7, Cma9, or Cma13and 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 C7( 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( Picture 6 5), Caug, C+5
CC diminishedCdim, C(no7)
CsusC suspended fourthC(addF), C( Picture 7 3)

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)

SEVENTH CHORDS

SYMBOLNAMEAVOID
Cma7C major seventhC7, C, C7+, CM7
Cmi7C minor seventhC-7, Cm7, Cmin7
C7C dominant seventhC7. C(+7), C( Picture 8 7)
C+7C augmented seventhCaug7, C7( Picture 9 5)
C7C diminished seventhCdim7, Cm6( Picture 10 5)
Cmi7( Picture 11 5)C minor seventh (flat five)C C-7(-5), C
Cmi(ma7)C minor (major seventh)Cmin, C-7
C7susC dominant seventh suspended fourthC7 4

EXTENDED CHORDS

SYMBOLNAMEAVOID
Cma9C major ninthC9, C7(+9)
Cmi9C minor ninthC-9, Cm7(9)
C9C dominant ninthC7(+9), C Picture 12
C+9C augmented ninthCaug9, C9(+5)
Cmi9( Picture 13 5)C minor ninth (flat five)C9 C-9(+5)
C9susC dominant ninth suspended fourthC11 , C9( Picture 14 11)
Cmi11C minor eleventhC-11, Cm7 Picture 15
Cmi11( Picture 16 5)C minor eleventh (flat five)Cmin11(-5), C11
Cma13C major thirteenthC6(+7), C 13
C13C dominant thirteenthC7(+A), C9 Picture 17
C13susC dominant thirteenth suspended fourthC9 Picture 18 , C13(11)
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