Chords
Names and Symbols
for
Teachers/Advanced Students
Harmony
by
Rowy
composer.rowy.net
Chords
Foreword
--This paper is a condensed translation of the original paper in Dutch. English is not my native
language. I apologize for any mistakes in my English.
--Chords was written in Dutch for Dutch teachers and advanced students of harmony and composition.
It is based on classical Dutch/German (North-West European) harmony, but if you're curious about
the modern notation of chords, as used in jazz and popular music, you will not be disappointed.
In modern notation, a chord symbol is made as simple as possible. All it does, is tell you which notes
to play. In classical harmony however, a chord is named after its position and function within a mode
(key). Harmony symbols don't tell you where to put your fingers on the guitar or piano.
If you studied classical harmony, you might want to use this paper to learn and understand the modern
notation of chords. Chords is not a course in classical harmony. If you're really interested in harmony,
I suggest you study the excellent Harmony & Voice Leading by Aldwell & Schachter.
Some symbols and musical terms might seem a bit strange to you, especially if you're not from NorthWest Europe, but remember, this is merely a translation.
I hope you will find Chords to be very useful.
© 2011 Rowy
Chords
Abbreviations
These abbreviations are being used in Chords:
1/9
add.
aeol.
alt.
aug.
dim.
dm
dom.
Gr.
Fr.
harm.
hf.
hd.
It.
maj.
md
min.
N (or n)
no
inc.
Pic. 3rd
sus
number of a tone in the diatonic scale or the symbol of an interval (3 = third).
added, for instance add4, a fourth added to the chord.
Aeolian, natural minor scale, sometimes written as eolian.
altered, a raised or lowered tone that, as a result, no longer belongs to the main key.
augmented, a major or perfect interval raised by a half tone.
diminished, a minor or perfect interval lowered by a half tone.
Dur-Moll (durmoll), German, 6th tone in a minor scale raised by a half tone.
dominant, standard chord on the fifth tone of the diatonic scale.
German sixth, augmented 6th chord, first inversion of the double diminished 7th chord.
French sixth, augmented 6th chord, second inversion of the hard diminished 7th chord.
harmonic, usually the harmonic minor scale.
half.
hard.
Italian sixth, augmented 6th chord, first inversion of the double diminished 6th chord.
major.
Moll-Dur (molldur), German, 6th tone in a major scale lowered by a half tone.
minor.
Neapolitan, lowered 2nd tone in a diatonic scale.
as in no5, the 5th of the chord is missing.
incomplete, a chord missing one or more tones. C7no5 is an incomplete chord.
Picardy third. Major third on the tonic of a minor scale at the end of a musical section.
suspended, a 2nd or a 4th (temporarily) replaces the 3rd of (or is added to) a chord.
Special symbols, as used in the modern notation of chords:
±
augmented chord, C±
—
diminished chord, B—
Ÿ
half diminished chord, FŸ‡
Chords
You may use Chords for non-commercial purposes. Download, or have your pupil download, the
latest version from composer.rowy.net. This is Version 4 - 2013.
The system
There are 15 numbered sheets with examples. The measures are numbered per sheet. In some of the
measures you will find two chords instead of one. The second chord is exactly the same as the first
one. It is being used to make room for an alternative name or code.
Below the staffs there are 4 lines:
Line a:
Line b:
Line c:
Line d:
Harmonic (classical) analysis of the chord in Roman numerals.
The origin of the alteration (Neapolitan, Moll-Dur).
Popular (modern) notation of the chord, as used in popular music and jazz.
Type of chord (dominant, diminished).
Chords are numbered like this:
[1
Number of the sheet.
-1
Number of the measure on that sheet.
a] Line a, b, c or d.
Examples:
[1-1a] = sheet 1, measure 1, line a.
[6-7d] = sheet 6, measure 7, line d.
Classical Symbols
- line a and b
All non-altered chords are printed in bold. On sheet number 1 you'll find the alterations that are
common in classical harmony: a lowered 2 (Neapolitan) in minor and major, a raised 2 in major, a
raised 4 in minor and major, a lowered 6 in major (Moll-Dur) and a raised 6 in minor (Dur-Moll).
A lowered 7 is also quite common, usually as part of a dominant seventh chord, but in classical
harmony most dominant chords are secondary dominants and the 7 is not an altered tone.
Use either the code in line a or the code in line b. md (Moll-Dur) and dm (Dur-Moll) in line b are
typical of North-West Europe, but n (Neapolitan) is generally known. There are several ways to
describe a Neapolitan chord, as you can see in [2-2a+b] and [11-11a+b].
Because the use of the Moll-Dur and the Dur-Moll tone leads to a minor instead of a major and a
major instead of a minor chord, these chords are also known (mostly in the USA) as borrowed chords.
In North-West European classical harmony however, we do not use the term 'borrowed chords'.
The symbols n, md or dm are not being used if there's a second alteration within the chord. In [3-18b]
the chord is called II Moll-Dur because of the lowered 6 in A flat, but in [3-19b] the fourth is altered
too, which makes it into a plain 'altered' chord and not a 'Moll-Dur' chord. Nevertheless, if the root of
the chord is being altered, the symbols n, md and dm still apply [4-12b], [6-14b], [14-9b].
Symbols that mark accidentals in the staff must also appear in line a [2-4a], [3-11a]. A symbol without
a number always applies to the third (3) [2-10a], [3-12a]. If the root of the chord has been altered, the
corresponding symbol has to be placed before the Roman numeral [3-6a], [3-13a].
If the lowest tone of an inversion is an altered tone [11-6a], [11-20a], the symbol that marks the
accidental can't be used in line a. To avoid misunderstandings some teachers prefer to describe the
type of the chord, for example [11-6a] (dim. is diminished) or [12-7a] (hf. dim. is half diminished).
It is obvious that symbols like n, md and md in line b are to be preferred in cases like the above, since
they refer to the origin of the alteration [11-6b], [11-12b].
When the chord is inverted and the lowest tone is an altered tone, you still have to use the symbol for
the altered root of the chord [12-10a], unless the root is an n, md or dm tone [11-12b], [11-24b].
Terms like aeol. (aeolian minor) [4-19b] and harm. (harmonic minor) [4-20b] in line b are optional.
Since harmonic minor - a raised 7 by a half tone - is the standard in classical harmony, there's no real
need for a natural in [4-8a], [4-14a], [4-20a] or a sharp in [9-17a].
On sheet number 13 you'll find a collection of sus (suspended) chords. Because in classical harmony a
suspended chord and the original chord are harmonically the same, only one symbol is being used in
line a. The anticipations however are part of two different chords, hence two symbols.
On sheet number 14 there are some examples of chords that are being interpreted in several ways
thanks to enharmonisation and interpretation. 16 diminished seventh chords, starting in measure 7,
sound exactly the same if you play them, but enharmonically they are all different.
The exercises on sheet number 15 are an example of harmonic analysis in North-West European style
in line 1 and 2, and popular (modern) symbolization in line 3.
Popular (modern) Symbols
- line c
In the popular notation of chords the symbols are kept as simple as possible. Use enharmonisation if
you think it will make a chord easier to play [2-7c], [3-16c], for instance on a guitar.
A major chord is being symbolised by a capital. A stands for A major chord, C is the C major chord
[2-1c]. A lower case m next to the capital means that the chord is a minor chord. Am is the A minor
chord, Cm stands for C minor chord [4-1c].
A small circle is the symbol for a diminished chord [2-4c]. If a diagonal line is going through the
circle, the chord is half diminished [6-4c]. A half diminished chord can also be symbolised by a 7
followed by a lowered 5. An augmented chord gets a small + next to the chord [2-15c].
A minor 7 in a seventh chord is standard in modern notation [6-15c] thanks to the frequent use of
dominant seventh chords. Add maj to the symbol in case the 7 is a major seventh [6-1c], [6-2c].
Always use a flat to indicate a lowered tone and a sharp for a raised tone. In popular notation a double
sharp, a double flat or a natural is not a legit symbol [3-14c], [3-16c]. Some musicians use + instead of
a sharp and - instead of a flat, but in North-West Europe we prefer to use a sharp or a flat.
The usual sequence of symbols is:
1. the chord in upper case, 2. a small m (in case of a minor chord) or the symbol for a diminished
[2-4c], half diminished [6-4c] or augmented chord [6-18c], 3. maj and a 7 for a major 7 [6-19c] or a 9
for a major 9 [10-8c], 4. sus4 or sus2 [13-8c], 5. altered tones [10-18c], 6. no and/or add [15-16c], 7. a
slash followed by a note in upper case, if the chord is inverted [12-11c].
An added major sixth to a major or minor chord is symbolised by a 6 next to the chord [12-6c].
However, as you can see, this chord can be analysed as the first inversion of a seventh chord.
There are no real standards for the symbolization of ninth chords, except for the major, the minor and
the dominant ninth chord (sheet number 10). If the 9th tone is a minor or an augmented 9, it can be
seen as a 7th chord with an added 9 [10-2c], [10-10c].
A slash and a capital for the tone after all the other chord symbols is the correct way to indicate an
inversion (sheet number 11 and 12). Inversions of ninth chords are very rare.
A sus (suspended) chord always represents a sus4 chord, unless sus is followed by a 2 [13-1c]. To
avoid misunderstandings one should always use the 4 to indicate a standard sus chord [13-3c].
An added tone is a tone that doesn't belong to the chord according to the popular notation, but in
classical harmony there usually is some kind of a connection, like in [13-15c] where the F is an
anticipation. Popular symbols tell you which notes to play, not where they derive from.
It is not necessary to use no if a chord is incomplete [13-3c]. However, a power chord (not really a
chord) can be symbolised with no3, for example Cno3, instead of C5.
Sheet 14 shows you how important enharmonisation can be, if you want to keep the notation of chords
simple. Although the diminished chords, starting in measure 7, are all different in classical harmony,
they do sound the same. That's why we only need one symbolisation (or an alternative) in [14-7c].
Chord Types
- line d
The chord type is an exact description of how a chord is built. A chord is made by piling up thirds. In
classical harmony we use only 3 kinds of thirds: major 3, minor 3 and diminished 3. To explain the
types of chords in this paper, we use mj for a major, mn for a minor and dm for a diminished 3.
A triad - starting at sheet number 2 - consists of 2 thirds (lower third first):
major
minor
diminished
hard diminished
double diminished
augmented
mj - mn
mn - mj
mn - mn
mj - dm
dm - mj
mj - mj
[2-1d]
[2-3d]
[2-4d]
[2-5d]
[2-6d]
[2-16d]
A tetrad (usually a seventh chord) - starting at sheet number 6 - consists of 3 thirds:
major 7
minor 7
minor major 7
diminished 7
half dim. 7
hard dim. 7
double dim. 7
augmented 7
dominant 7
aug. dominant 7
mj - mn - mj
mn - mj - mn
mn - mj - mj
mn - mn - mn
mn - mn - mj
mj - dm - mj
dm - mj - mn
mj - mj - mn
mj - mn - mn
mj - mj - dm
[6-1d]
[6-3d]
[6-9d]
[6-7d]
[6-4d]
[6-5d]
[6-6d]
[6-19d]
[6-15d]
[6-18d]
A pentad (usually a ninth chord) - sheet number 10 - consists of 4 thirds:
major 9
minor 9
minor major 9
half diminished 9
hard diminished 9
augmented 9
dominant 9
augmented dom. 9
mj - mn - mj - mn
mn - mj - mn - mj
mn - mj - mj - mn
mn - mn - mj - mj
mj - dm - mj - mj
mj - mj - mn - mn
mj - mn - mn - mj
mj - mj - dm - mj
[10-1d]
[10-3d]
[10-5d]
[10-21d]
[10-9d]
[10-8d]
[10-6d]
[10-7d]
If the 9 is a minor or an augmented 9, the chord is called a seventh chord with an added 9. To make
things even more complicated, some teachers prefer to loose the 7 in the description of these chords:
major 7 minor 9
minor major 7 minor 9
major 7 augmented 9
diminished 7 minor 9
half diminished 7 minor 9
hard diminished 7 minor 9
double diminished 7 minor 9
dominant 7 minor 9
major minor 9
minor major minor 9
major augmented 9
diminished minor 9
half diminished minor 9
hard diminished minor 9
double diminished minor 9
dominant minor 9
- The End -
mj - mn - mj - dm
mn - mj - mj - dm
mj - mn - mj - mj
mn - mn - mn - mj
mn - mn - mj - mn
mj - dm - mj - mn
dm - mj - mn - mj
mj - mn - mn - mn
[10-2d]
[10-4d]
[10-10d]
[10-12d]
[10-11d]
[10-22d]
[10-18d]
[10-20d]
-1-
Alterations
Major and Minor
C major scale
&w
2
1
bw
bw
#w
w
w
lowered 2, usually + perfect 5th
Neapolitan
b
&bb
b
b
& b
1
raised 2
2
#w
bw
b b ww
lowered 2
Neapolitan
nw
raised 3
Pic. 3rd
4
#w
5
raised 4
w
3
Alterations of the minor scale
bw
w
4
C minor scale
w
w
3
Alterations of the major scale
& bw
w
w
w
raised 4
w
6
7
# b ww
lowered 6, usually + perfect 5th combination
Moll-Dur
w
5
nw
w
w
6
7 aeolian
nw
nw
raised 6, usually + perfect 5th
Dur-Moll
© 2011 Rowy
nw
7 harmonic
nw
n # ww
combination
-2-
Chords
Triads in Major
& www
a.
b.
c.
d.
1
CI
b b ˙˙˙
maj.
8
ww
w
Dm
maj.
15
V ˜fi
aug.
b www
≤VI
VI md
A≤±
aug.
b b www
# b www
II ¯fi
II md
D—
D ≤5
dim.
hd.dim.
w
# b ww
11
dim.
≤VI ¯fi
VI md
A≤
maj.
www
12
≥IV ¯
md
≥IV
F≥— ≤3
F≥—
17
5
II ¯fi
˜
≥IV
min.
16
4
b www
w
# ww
10
IV ¯
IV md
Fm
F
min.
min.
b www
9
IV
Em
G±
www
maj.
III
#w
& ww
˙˙˙
3
≤II ¯fi II
≤II
II n
D≤
C
& www
2
db.dim.
18
VI
Am
min.
© 2011 Rowy
www
19
VII
B—
dim.
# www
6
E≤— ≤3
db.dim.
13
V
G
maj.
b www
# # www
≥II ˜
≥II
www
7
20
VII ¯
VII n
B— ≤3
db.dim.
E≤—
dim.
b www
14
V ¯fi
Vn
G ≤5
hd.dim.
# www
21
VII ˜
B ≤5
hd.dim.
-3-
Chords
Triads in Major
& www
a.
b.
c.
d.
&
a.
b.
c.
d.
1
b b ˙˙˙
CI
≤II
II n
D≤
C
maj.
####
˙˙˙
www
8
www
EI
E
maj.
15
A≤I
A≤
maj.
3
b www
Dm
min.
n˙
n ˙˙
9
˙˙
˙
Î II Î II Îfi
II
F
n
maj.
∫ b ˙˙˙
16
ww
w
10
n ww
w
www
b www
dim.
min.
18
II ¯fi
II md
B≤—
dim.
© 2011 Rowy
# n www
# # www
12
II Îfi
˜
F≥ ≤5
hd.dim.
n b www
19
II ¯fi
Î
B≤ ≤5
hd.dim.
E≤— ≤3
db.dim.
w
‹ ww
13
Ï II
E≤—
dim.
w
‹ # ww
14
Ï II
G— ≤3
db.dim.
n www
7
≥II ˜
≥II
hd.dim.
11
6
# www
D ≤5
F≥m
17
5
II ¯fi
˜
II Îfi
II md
F≥—
II
≤≤II ≤≤II ¯fi II
II n
A
B≤m
maj.
# b www
dim.
min.
˙˙˙
4
II ¯fi
II md
D—
≤II ¯fi II
maj.
bb w
& b b ww
a.
b.
c.
d.
2
20
Î II
B— ≤3
db.dim.
˜
G—
dim.
n n www
21
Î II Î
B—
dim.
-4-
Chords
Triads in Minor
b
& b b www
a.
b.
c.
d.
1
n www
IΩ
Pic. 3rd
I
C
cI
Cm
min.
b
& b b n ˙˙˙
2
maj.
8
ww
w
˙˙˙
III III Ω fi IV
harm.
III
E≤±
Fm
aug.
b b˙
& b b n ˙˙
V ¯fi
n
V
G ¯fi
hd.dim.
˙˙
˙
www
≤II
n
II
D≤
II
maj.
w
# ww
V ¯fi VI
Î
A≤
maj.
11
≥IV
w
# n ww
n n www
ΩVI
dm
VI
A—
dim.
ΩVI Ω fi
dm
VI
Am
min.
© 2011 Rowy
www
19
www
V
aeol.
V
Gm
maj.
n ˙˙˙
n ˙˙˙ ˙˙˙
20
dim.
14
˙˙˙
V VΩ
harm.
V
G
min.
VII
VII ΩVII
aeol.
harm.
VII
VII
B≤
B—
maj.
III
aeol.
III
E≤
hd.dim.
13
7
ww
w
D ¯fi
12
dim.
6
II ˜
≥IV Ω
dm
≥IV
F≥—
db.dim.
18
# www
min.
F≥— ≤3
17
5
II Ω fi
dm
II
Dm
dim.
10
n www
n www
D—
maj.
16
4
www
IV Ω
dm
IV
F
min.
15
b www
n www
9
3
maj.
n b ˙˙˙
21
˙˙˙
VII ¯ ΩVII ¯
n
VII
B— ≤3
db.dim.
-5-
Chords
Triads in Minor
b
& b b www
a.
b.
c.
d.
min.
Am
min.
f ≥I
F≥m
min.
# www
I˜
Pic. 3rd
I
F≥
maj.
www
w
n ww
ΩII
n
II
G
dim.
maj.
12
II ˜fi
dm
II
Bm
B—
ww
w
min.
# ww
w
11
II
17
II Ω fi
dm
II
Dm
dim.
ww
w
10
5
n www
D—
maj.
maj.
16
4
II
≤II
n
II
B≤
maj.
15
3
≤II
n
II
D≤
w
b ww
9
I˜
Pic. 3rd
I
A
aI
b www
maj.
# www
8
2
IΩ
Pic. 3rd
I
C
Cm
### w
& ww
a.
b.
c.
d.
n www
cI
w
& ww
a.
b.
c.
d.
1
II
G≥—
dim.
© 2011 Rowy
# ww
w
# www
II ˜
D ¯fi
hd.dim.
# www
13
II ˜
B ¯fi
min.
18
6
hd.dim.
19
II ˜fi
dm
II
G≥m
min.
# www
20
II ˜
A≤ ¯fi
hd.dim.
7
ww
w
III
aeol.
III
E≤
maj.
www
14
III
aeol.
III
C
maj.
www
21
III
aeol.
III
A
maj.
-6-
Chords
Tetrads in Major
&
a.
b.
c.
d.
˙˙˙
b
b˙
1
ww
ww
maj.7
www
w
Em7
7
dim.7
˙
& # ˙˙˙
≥IV ‡
dim.7
˙˙˙
˙
b #b wwww
7
≤VI ‡
VI 7md
A≤± maj7
aug.7
≥IV
F≥—7≤3
21
w
bw
b ww
≤VI ‡¯fi
VI 7md
A≤ maj7
maj.7
ww
ww
dom.7
22
VI ‡
Am7
min.7
16
V ˜‡
G7
db.dim.7
w
b www
˙˙˙
˙
G maj7
maj.7
23
VII ‡
Bm7≤5
hf.dim.7
˙˙˙
˙
BŸ 7
© 2011 Rowy
min.maj.7
17
V ‡¯fi
7n
V
G 7≤5
hd.dim.7
b www 24
w
VII ¯‡
VII 7md
B— 7
dim.7
# www
w
18
V ‡˜fi
G±
12
IV ¯¯‡
IV 7md
Fm maj7
b www
w
7≤3
db.dim.7
bw
b www
11
IV ‡¯
maj.7
# www
w
15
V‡
7md
hf.dim.7
ww 20
& b ww
www
w
14
E≤—
hd.dim.7
10
6
≥II ‡
D 7≤5
F maj7
maj7
www
#w
5
II ‡¯
fi
˜
IV ‡
min.maj.7
≥IV ¯¯‡
F≥m7≤5 F≥Ÿ
ww
ww
9
Em
# b wwww
hf.dim.7
III ˜‡
III ‡
≥II ‡˜
13
# www
w
fi
˙˙˙
˙
II 7md
Dm7≤5 DŸ ‡
min.7
8
4
II ‡¯
Dm7
maj.7
7
b ˙˙˙˙
3
II ‡
II 7n
D≤ maj7
C maj7
E≤—
www
w
≤II ‡¯fi ≤II ‡
CI ‡
& # # wwww
˙˙˙
˙
2
7
aug.dom.7
bb www 25
w
VII ¯¯‡
VII 7n
B— 7≤3
db.dim.7
IV 7md
Fm7
min.7
# # www
w
19
V ˜˜fi‡
G±
maj7
aug.7
26
w
w
# ww
VII ‡˜
B7≤5
hd.dim.7
-7-
Chords
Tetrads in Major
&
a.
b.
c.
d.
bb wwww
1
ww
ww
≤II ‡¯fi
CI ‡
maj.7
www
w
E≤—
dim.7
b.
c.
d.
AI ‡
A
maj.7
II 7n
B≤ maj7
maj.7
19
≥II ‡˜
C—
www
w
7
dim.7
www
w
20
III ‡
C≥m7
min.7
II ‡
II 7md
Bm7≤5
hf.dim.7
21
III ˜‡
C≥m
ww
ww
22
min.maj.7
D maj7
maj.7
© 2011 Rowy
17
II ‡Ω
fi
˜
B7≤5
BŸ 7
IV ‡
maj7
# n wwww
hd.dim.7
w
n www
7≤3
db.dim.7
12
IV ¯¯‡
min.maj.7
˙˙˙
˙
E≤—
bw
b www
11
IV 7md
Fm maj7
II ‡Ωfi
min.7
hd.dim.7
IV ‡¯
16
www
#w
6
≥II ‡
D 7≤5
w
b www
maj.7
Bm7
5
II ‡¯
fi
˜
DŸ ‡
10
n ˙˙˙˙
15
# www
w
# b wwww
F maj7
min.maj.7
14
˙˙˙
˙
IV ‡
Em maj7
≤II ‡Ωfi
maj7
# # # # # wwww
&
nb wwww
ww
ww
9
III ˜‡
min.7
13
hf.dim.7
# www
w
Em7
7
# # # www
& w
min.7
III ‡
≥II ‡˜
fi
II 7md
Dm7≤5
7
8
4
II ‡¯
Dm
maj.7
7
b ˙˙˙˙
3
II ‡
II 7n
D≤ maj7
C maj7
& # # wwww
a.
www
w
2
23
IV ‡Ω
IV 7md
Dm maj7
min.maj.7
IV 7md
Fm7
min.7
www
#w
18
≥II ‡
C—
7≤3
db.dim.7
nw
n www
24
IV ΩΩ‡
IV 7md
Dm7
min.7
-8-
Chords
Tetrads in Minor
b
& b b www
w
a.
b.
c.
d.
b
&bb
1
n www
w
cI ‡
I 7harm.
Cm maj7
min.7
b www
w
III ‡Ωfi
7harm.
III
maj7
E≤±
aug.7
b n˙
& b b n # ˙˙˙
16
≥IV ΩΩ‡
˙˙˙
˙
III ¯‡
III ¯Ω ‡
fi
7n
III
E≤± ‡
7n
III
E≤ ‡
dom.7
ww
ww
b b n ˙˙˙˙
b
&
24
17
V‡
˙
n ˙˙˙
7aeol.
ΩVI ‡
min.7
˙˙˙
˙
min.7
˙˙
˙˙
Fm ‡
# ww
ww
#w
n www
7dm
IV
F maj7
19
V ˜Ω ‡
G
b ˙˙˙˙
maj7
min.maj.7 maj.7
www 26
w
VII ‡
˙˙
n ˙˙
27
˙˙˙
˙
dom.7
dim.7
© 2011 Rowy
≥IV ‡Ω
F≥—‡
db.dim.7
˙˙
˙˙
w
n b www
dim.7
22
‡
V ¯fi
V‡
Ω
¯fi
7n
7n
V
V
7≤5
Gm GmŸ ‡ G 7≤5
hf.dim.7
n www 28
w
VII ‡ ΩVII ‡ VII Ω‡
VII 7aeol. VII 7harm.
B≤ ‡
B— ‡
21
15
F≥— 7≤3
maj.7
20
maj.7
ww
# n ww
14
≥IV ‡
IV ΩΩ‡
dom.7
7aeol.
III
maj7
E≤
hd.dim.7
ww
# ww
VII 7dm
B≤maj7
maj.7
n ˙˙˙
n˙
7
III ‡
D7≤5
13
7dm
IV
F‡
www
w
6
II ‡˜
n n wwww
12
Gm maj7
dom.7
II Ω‡fi
IV Ω‡
V ‡Ω V ˜‡
V 7harm.
G‡
25
w
n n www
ΩVI ‡Ωfi
18
V‡
VI 7dm
VI 7dm
Am7≤5 AmŸ ‡ Am ‡
hf.dim.7
IV ‡
aug.dom.7 min.7
V
7≤5
F≥m F≥mŸ ‡ Gm ‡
hf.dim.7
n wwww
11
w
# www
min.7
hf.dim.7
www
w
10
n wwww
5
II 7dm
DmŸ ‡ Dm‡
Dm7≤5
maj.7
n b wwww
9
˙˙
˙˙
4
II ‡
II 7n
D≤ maj7
min.maj.7
8
˙˙
˙˙
3
≤II ‡
I Ω‡
cI 7aeol.
Cm‡
n wwww
ww
b ww
2
www 23
w
VI ‡
A≤
maj7
hd.dim.7 maj.7
29
ΩVII Ω‡
˙˙˙
˙
30
w
w
n b ww
ΩVII ‡¯
VII 7dm
VII 7n
Bm7≤5 BmŸ ‡ B—7≤3
hf.dim.7
db.dim.7
-9-
Chords
Tetrads in Minor
b
&bb
1
ww
ww
n ww
ww
cI ‡
a.
I 7harm.
Cm maj7
min.7
b n ww
b
& b ww
b www
w
III ‡Ωfi
7harm.
III ¯‡
III ¯Ω ‡
fi
7n
III
E≤± ‡
7n
III
III
maj7
E≤ ‡
E≤±
aug.7
# ww
& ww
a.
b.
c.
d.
16
eI ‡
eI 7aeol.
Em ‡
min.7
# # www
& w
23
III ‡˜fi
7harm.
III
maj7
G±
aug.7
dom.7
# ww
ww
www
nw
17
II 7n
F maj7
min.maj.7
III Ω‡
III 7n
G‡
dom.7
18
ΩII ‡
I 7harm.
Em maj7
24
ww
ww
w
n www
11
IV ‡
IV ‡Ω
Fm ‡
maj.7
# n www
w
25
Ω‡
III ˜fi
III 7n
G± ‡
˙˙˙
˙
12
IV
F‡
II ‡
˙˙˙
˙
hf.dim.7
IV ‡
Am ‡
aug.dom.7 min.7
min.7
nw
n www
13
IV ΩΩ‡
7dm
F≥m7≤5 F≥mŸ ‡
ww 26
ww
II 7dm
Dm ‡
7dm
IV
F maj7
dom.7
19
ww 27
# ww
IV ‡˜
IV 7dm
A‡
dom.7
© 2011 Rowy
# wwww
5
II Ω‡fi
hf.dim.7
aug.dom.7 min.7
I ˜‡
n www
w
10
n wwww
Dm7≤5 DmŸ ‡
maj.7
n b www
w
9
˙˙˙
˙
4
II ‡
II 7n
D≤ maj7
min.maj.7
8
˙˙˙
˙
3
≤II ‡
I Ω‡
cI 7aeol.
Cm‡
b.
c.
d.
www
bw
2
maj.7
# wwww
II ‡˜fi
D7≤5
hd.dim.7
ww
# ww
14
≥IV ‡
F≥— 7≤3
db.dim.7
21
II ‡˜
II 7dm
F≥m‡
F≥ 7≤5
min.7
# ww28
# ww
II ‡˜
# wwww
20
6
hd.dim.7
IV ˜˜
7
IV 7dm
A maj7
maj.7
ww 29
# ww
≥IV ‡
B≤— 7≤3
db.dim.7
www
w
7
III ‡
7aeol.
III
maj7
E≤
maj.7
ww
n
# ww
15
≥IV Ω‡
F≥— ‡
dim.7
www
w
22
III ‡
7aeol.
III
maj7
G
maj.7
ww30
# # ww
≥IV ‡˜
B≤— ‡
dim.7
- 10 -
Chords
Pentads
&
a.
b.
c.
d.
www
ww
b www
ww
1
CI ·
C
9n
I
maj7≤9
C
maj.9
˙˙˙
#
& ˙˙
˙˙˙
˙˙
V·
˜fi
V ·˜‡
˜fi
G± maj9
aug.dom.9
a.
b.
c.
d.
b
&bb
www
ww
aug.9
n ˙˙˙˙
˙
13
cI ·
14
I·
9harm.
I
Cm maj9
Cm ·
min.9
www
# n ww
≥IV ·Ω
F≥— 7≤9
dim.(7)min.9
˙˙
n ˙˙˙
V·
15
BŸ 7≤9
Dm 7≤5≤9
b wwww
w
IV ·Ω
III ·¯
‡
9n
III
E≤ ·
hf.dim.(7)min.9 dom.9
20
V 9harm.
G 7≤9
˙˙˙
˙˙
V ·Ω
dom.(7)min.9
Bm 7≤5≤9
www 17
n ww
16
nb www21
ww
V Ω·
¯fi
GŸ ·
hf.dim.9
© 2011 Rowy
ww
n b www
22
·
V ¯fi
Ω
V 9n
G 7≤5≤9
G·
IV
F·
dom.9
b wwww
w
maj.(7)aug.9 hf.dim.(7)min.9
II ·
I ·Ω‡
VII ·
fi
9md
www
ww
˙˙˙
˙˙
11
6
V·
min.maj.9
˙˙˙
˙˙
10
VI
A≤ maj7˜9
hd.dim.9
˙˙˙
˙˙
maj7≤9
≤VI ·¯
V·
¯fi
9n
V
G 9≤5
min.maj.9
19
ww
b
b www
ww
www
5
IV ·
¯
9md
IV
maj9
Fm
min.maj.(7)min.9
9
w
w
b www
8
G 9˜5
G ·
G±
Em
min.9
# # wwwww
www
b ww
4
III ·
˜‡
Dm ·
maj.(7)min.9
7
# wwww
w
3
II ·
I ¯·
maj·
b
&bb
www
ww
2
www
# ww
12
VII ·¯
‡
9md
VII
B— 7≤9
dim.(7)min.9
18
≥IV ·
9dm
F≥— 7≤3≤9
dom.9
db.dim.(7)min.9
ww 23 n www
www b ww
VI ·
A≤ ·
hd.dim.(7)min.9 maj.9
24
VII ·Ω‡
¯
B≤m maj9
min.maj.9
- 11 -
Chords
Triad Inversions
& ww
w
a.
b.
c.
d.
ww
w
1
C
# ˙˙
˙
7
E≤— ≤3
db.dim.
13
ww
w
14
Cm
min.
II ˜
D ¯fi
hd.dim.
b b ˙˙˙
6
≥II 4
E≤— ≤3/A
db.dim.4/6
ww
w
15
I4
Cm/G
w
# ww
# ww
w
20
II 6
hd.dim.
D ¯fi/F≥
hd.dim.6
min.4/6
21
II 4˜
6
D ¯5/A≤
aug.4/6
6
10
˙˙˙
≤II ¯5
≤II
II n
D≤
maj.
b b ˙˙˙
www
11
˙˙
˙
6
≤II 6 ≤II ¯
II 6n
D≤/F
dim.
b www
≤II
II n
D≤
22
6
˙
b b ˙˙
˙˙
˙
12
6
maj.4/6
ww
w
18
6
D—/F
D—/A≤
b ww
w
b www
23
≤II 6
II 6n
D≤/F
maj.6
6
≤II 4 maj. ≤II 4
II 6n
4
D≤/A≤
II 4
dim.6
maj.
© 2011 Rowy
ww
w
17
II 6
D—
6
˙˙
˙
dim.4/6
maj.6
16
6
II 4 dim.II 4
II 6md
4
D—/A≤
dim.6
II
Cm/E≤
min.6
19
9
˙˙
b˙
5
II ¯
II 6md
D—/F
dim.
6
I6
cI
b
& b b # www
˙˙
˙
# www
aug.6
b
& b b ww
w
a.
b.
c.
d.
8
maj.4/6
≥II 6
≥II It.6 ≥II It.±6
E≤— ≤3/F
≥II
II ¯5
II md
D—
C/G
maj.6
b www
4
b www
I4
C/E
maj.
3
6
I6
CI
& # www
ww
w
2
dim.4/6
24
6
≤II 4
II 6n
4
D≤/A≤
maj.4/6
- 12 -
Chords
Tetrad Inversions
& www
w
a.
b.
c.
d.
wwww
1
CI
7
I 65
C maj.7
I 43
maj.5/6
# ˙˙˙
˙
9
≥II
7
˙˙˙
˙
10
db.dim.7 aug.5/6
b.
c.
d.
b
&bb
˙˙˙ w 5
˙ b ww
w
17
cI
# wwww
7
I
19
6
5
6aeol.
5
7
I
4
3
4aeol.
3
7
cI 7aeol. I
I
7
Cm
Cm /E≤ E≤6 Cm /G
min.7
w
# www
25
min.5/6
ww
# ww
26
6
II 5
7 hd.dim.
II ˜
D 7 ¯fi
min.3/4
#˙˙˙
˙
2
V
I
2
n wwww
28
w
˙
w
#
˙˙˙ ww
II 2˜4
III Ωfi
aug.7
29
7
hd.dim.2 dim.7
II 2md
DŸ 7/C
hf.dim.2
w16
www
V2
G 7/B
G 7/D
G 7/F
n wwww
6
III fi
Ω
dom.3/4
23
w
n www
aug.5/6
30
˙˙˙ n wwww
˙
B— 7/D
dom.2
n ww24
ww
4
III 3
III 4harm.
3
E≤± 7 /B
aug.
III 6harm.
5
7
E≤± /G
VII ΩVII 7 VII 65
© 2011 Rowy
≤6
II 42
V 43
22
7
Fr. 6
II
II ±
D 7 ¯5 /C B—7
D 7 ¯fi/F≥ D 7 ¯5 /A≤
hd.dim.7 hd.dim.5/6 aug.3/4
b ww 8
ww
V5
dom.5/6
21
˙˙˙
n˙
hf.dim.3/4
6
7
I 2aeol. III 7harm.
Cm7/B≤ E≤± 7
min.2
7
15
wwww
14
www
w
13
db.dim.2 dom.7
27
˜6
4
II 3
Fr.6
ww
ww
E≤— 7≤3 /C G 7
www20
w
˙˙˙˙ ˙˙˙˙ wwww
18
˙˙˙ b wwww
˙
hf.dim.7 hf.dim.5/6
≥II
db.dim.3/4
6
II 7 md
DŸ 7
12
w
w
# ww
≥II 43
6
hf.dim. 4
II 5
II 3
¯
4
II 3 md
II 65 md
DŸ 7 /F Fm6 DŸ 7/A≤
II ¯fi
maj.2
11
b ˙˙˙˙
7
I 24
≥II Gr. 6 ≥II Gr.±6
E≤— 7≤3 /A
E≤—7≤3 /F
E≤— 7≤3
a.
4
I2
maj.3/4
≥II 65
b
& b b www
w
˙
˙˙˙
3
C maj.7 /E C maj.7/G C maj.7/B
maj.7
& # wwww
wwww
2
aug.3/4
n wwww
31
VII 43
B—7/F
dim.5/6 dim.3/4
Ω6
III 42
III 2harm.
E≤±7 /D
aug.2
w
n www
32
VII 2
B— 7 /A≤
verm.2
- 13 -
Chords
Suspensions and Anticipations
Suspensions 1
& ˙˙
˙
a.
b.
c.
d.
CV 6
C sus2
maj.
˙˙
˙
˙˙
˙
G/B
C sus2
I
maj.6
b
& b b ˙˙
˙
5
˙
n ˙˙
min.
CI
V6
C sus2
G/B
maj.
min.
maj.
maj.
6
maj.
V6
V 6harm.
G/B
maj.6
I
C sus2
min.
C sus4
7
6
˙˙
˙
min.4/6
inc.dim.7
14
˙˙˙
˙
II 2
DŸ 7/C
hf.dim.2
˙˙ <--- b ˙˙
˙
˙
I
C sus4
maj.
IV 4¯
IV 64 md
Fm/C
6
min.4/6
˙ <--- ˙
˙˙
˙
˙
n ˙˙
15
I
Cm add4
min.
© 2011 Rowy
˙˙˙
6
V5
V 65 harm.
G 7/B
dom.5/6
C
maj.
˙˙˙
˙
Fm/C
min.
4
I
11
VII ¯‡
VII 7md
B— 7no5
˙˙
˙ <---
G 7no5 /B
C
C sus4
inc.dom.2
C sus2
˙˙
˙
IV 4
D 7no5 /C
min.
˙
˙˙
inc.dom.5/6
˙˙
˙
# ˙˙˙
C sus2
I
b
& b b ˙˙
˙
˙ <--- n ˙˙
C sus2
C sus4
b˙
˙˙
˙ <--- ˙˙
maj.6
cI
C
6
V5
(V 2) V
13
a.
b.
c.
d.
˙
˙˙
10
& ˙˙
˙
˙ <--- ˙˙
3
˙˙˙
˙
˙˙
maj.6
Anticipations 9
a.
b.
c.
d.
maj.
cV 6
V 6 harm.
C sus2 G/B
a.
b.
c.
d.
2
maj.
8
6
˙
n ˙˙˙
V5
6 harm.
V5
G 7sus4 /C G 7 /B
min.
˙˙ <--˙
˙
I
C sus2
maj.
˙ <--˙˙
˙
I7
C 7sus4
min.7
dom.5/6
˙˙
˙˙
12
II 6
Dm/F
min.6
˙˙
˙˙
16
IV
Fm
min.
- 14 -
Chords
Enharmonization and Interpretation
#w
b b b www
Enharmonically equal - examples
bb
& # wwww
1
www
w
2
˜6
c II 43
B≤ V 7
a. C ≥II 65
b. C ≥II Gr.±6
c.
E≤— ≤3/F
d.
aug.5/6
dom.7
##
& b www
#w
a.
b.
c.
d.
&
b www
w
D VII ¯7
d ≥VII 7
dim.7
####
# n www
w
#
6
B VII Ωfi
B VII 6md
5
####
c≥
17
‹ # wwww
Ï
c≥
Ï
˜6
4
IV 3
IV 4dm
3
dim.3/4
dim.7
#
13
e
# ww
# ww
dim.
e
6
≥IV 5
≥IV 6dm
5
dim.5/6
####
E
18
‹ # wwww
Ï
˜6
II 43
dim.3/4
G
dim.
####
6
≥II 5
b b b b n www
w
f ΩVII
2
7
b VII 65 harm.
dim.5/6
b b b b b www
w
15
16
4
g≥ VII 3
Ï
g≥ VII 4harm.
3
dim.3/4
20
b www
bw
F
dim.
VII
f VII 2harm. F VII 2md
dim.2
© 2011 Rowy
b b b b b n n www
w
21
2
dim.2
# www
w
11
b ≥VII 65
# ‹ www
w
dim.5/6
19
##
10
dim.7
14
# ww
# ww
maj.
B≤ ≥II Ω
g ≥IV 7dm
dim.7
12
7
g ≥IV Ω
e II n
F
maj.
b b n www
#w
9
6
e ΩII
F
hd.dim.7
b b n www
#w
d VII 7harm.
D VII 7md
C≥—7 of D≤—7 --->
dim.5/6
&
8
# w
n ww
5
E≤ II Ω
D≤ V 7n
A≤7 ¯5
aug.3/4
16 enharmonically equal dim. 7th chords
b b b n www
D≤ V ¯¯5
c II Fr.±6
D 7 ¯5/A≤
F7
7
4
w
b b b b b ∫ www
3
b≤
6
ΩIV Ω24
2dm
b≤ ΩIV
dim.2
4
A≤ VII ¯3
A≤ VII 4md
3
dim.3/4
b b b b b n n www
w
22
6
D≤ ΩII Ω4
2
dim.2
- 15 -
Chords
Harmonic Analysis
˙˙ b ˙˙˙
& ˙
1
?˙
&
˙
w
˙
md
CI IV
bbb
ww
w
2
˙
C
˙˙ ˙˙
˙ ˙
Fm
6
I4
V
C/G G
˙˙ n ˙˙ n ww
˙ ˙ w
8
˙
? b
bb
I
&
˙˙œ
susp.
& ˙˙˙
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˙
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b˙
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A≤‡/G≤ G sus4 G
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n ˙˙
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˙
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II 7n
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#˙
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b ˙˙˙
16
˙˙˙
21
n˙
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I
C D≤ maj7/C D≤ maj7 G‡/D C
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22
maj7
ww
w
17
w
˙˙ ˙˙
˙ ˙
˙˙
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C
C
A≤‡/G≤ G sus4
˙˙
˙
#˙
˙˙ 24b ˙˙
b˙ ˙
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IV
Cm Fm
13
˙ ˙
F
18
˙˙ # ˙˙
˙ ˙
˙
˙
II 7 7
I 64 V
=aIV ≥IV 7
Dm‡ F‡/E≤ Am/E E
23
˙˙
˙
˙
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12
w
œ
˙
IV 7
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F≥Ÿ‡
#˙
7
bbb ˙
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nw
˙
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F
b b b ˙˙˙
6
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11 suspension
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b b ˙˙˙
II 2n
md
w
CI IV
I
Pic. 3rd
DŸ‡/A≤ A≤—‡ G‡
20
C
˙
˙˙
˙
b ww
w
IV
I 64 V
=cIV
Cm/G G
Fm
10
œ ˙˙
˙
VII 2md
C
n n n ˙˙˙ ˙˙˙
15
? b˙
CI
5
˙
nnn ˙
V
Cm/G G
˙ ˙
I
9
b ˙˙
˙
w
˙
6
4
4
˙˙ b ˙˙˙
˙
3
D≤
14
19
w
aI
Am
w˙
w
˙ www
n˙
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susp. 25
4
V3
G‡ sus4 /D
˙
#˙
ww
w
˙˙
˙
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26
V7 I
G‡ no5 C