Chord Symbols Explained

Theory V
Dr. Ben Hjertmann

1. Purpose of Chord Symbols & Comparison to Roman Numerals

Chord symbols are found in leadsheets, fake books, real books, guitar books, and in
many other types of notated music, usually printed above the melody.

Chord symbols contain enough information to identify each exact pitch involved in the
chord they describe using a system of letters, numbers, and symbols. This is different
from Roman Numerals which do not, on their own, contain enough information to
identify each pitch without knowing the key.

Roman Numerals are contextualized within a key in order to show function. “V7”
contains meaning in any given key area and functions as the dominant, which implies a
tonal context and traditional resolution. In contrast, chord symbols are self sufficient
and imply no particular key or function. “G7,” for example, could be used as a
dominant-seventh chord in the key of C, or an enharmonic German augmented 6th
chord in the key of B, or a V7/V in in F, or just a G7 in a non-functional or even non-tonal
progression.

Chord symbols contain interval information above a root of a chord. This, again, is
different from Roman Numerals which include intervals above the bass.
A “V6” we know is an inversion. The V6 is built on Ti, which is the bass note of the
chord (the lowest note), whereas Sol is the root of the chord (the bottom of the chord if it
were stacked in root position, in thirds). The symbol “6” comes from figured bass
notation used by keyboardists and shorthand for “6/3.” This means that the correct
chord could be built by stacking the a sixth, and a third above the bass note: Ti-Re-Sol.
On the other hand, the chord symbol “D6” means a D major triad with an added major
6th above the root (D).

In fact, the utility of chord symbols is made evident by their contrast to Roman
Numerals. Chord symbols allow for more unusual chromatic progressions. This is most
clear in progressive jazz music from the late 50s and beyond, which relies on a
fluidness of key brought about by the multiple functionalities of chord symbols.

In our investigations of music from the last 130 years, chord symbols will be useful for
describing not only for jazz/pop/rock music, but also notated music of almost every type.
2. Conventions

Unfortunately, chord symbols are only about 85% standardized. For the most part you
will find the same notation and symbols used everywhere, but variations do exist,
especially within different genre traditions.

Our class will use the system outlined below, which in the opinion of your instructor is
the clearest and most universal amalgamation of such traditions. Alternative symbols
and conventions will be noted for your comparison. While other such conventions are
not strictly wrong, we will all make our best effort to use the system below for the
purposes of this class.

3. Root

The primary symbol involved is the root note, which is always noted as a capital letter,
regardless of quality.

The four chords above all have the same root.

4. Inversion

Inversions for chord symbols are notated with a slash and the bass pitch underneath.
The entire chord symbol is given above the slash which may or may not account for the
bass pitch.

F7/A - This is the notation for a first inversion of an F7 seventh chord.

F7/B - This means an F7 chord with a B played below in the bass.

Both the above are equally viable notation even though in the first example the bass
note is a chord tone and in the second it is not.
5. Default Qualities

Chord symbols condense a good deal of pitch/accidental information using default

qualities of intervals above a root note. Additional accidentals and numbers are used to
denote deviations and/or additions to these defaults.

The amount of information present does not correlate to how many pitches are present.
For example, C13 contains seven pitches whereas D 7sus2,no5/E contains only three.

5a. Triads & Seventh Chords

All chords are presumed to be built on a complete triad unless otherwise noted.

The default for triads is major.

To alter the symbol to the other triad qualities, use the appropriate symbols below:

Db – Db major triad.
Dbm – Db minor triad. (“Db-” is another common notation)
Dbo – Db diminished triad. (“Db dim.” is also common)
Db+ – Db augmented triad. (You may see “Db aug.” as well)

The default quality of the 7th above the root is minor. Db7 means Db Mm7.

All the seventh chord qualities are notated below:

Db7 = Mm7 or “dominant” seventh chord.

Dbm7 = mm7 or “minor” seventh chord. (or “Db-7”)
Db 7 = MM7 or “major” seventh chord. (You may see “Dbmaj.7”)
Db∅7 = om7 or “half-diminished” seventh chord. (You may see “Dbm7b5”)
Dbo7 = oo7 or “fully-diminished” seventh chord. (You may see just “Dbdim7”)

Db+7 = +m7 “augmented” or “augmented dominant” seventh chord. (or “D7#5”)

Db+ 7 = +M7 “augmented major” seventh chord. (or “Dmaj.7#5”)
Dbm, 7 = the rare mM7 chord.
5b. Extensions

Extensions, explained in Unit 2 of this class, are created by stacking thirds over a root,
beyond the 7th. Thus the 9th, 11th, and 13th are the extensions.

Like the triad and seventh chord, the extensions have default states.

So, unless otherwise noted...

The 9th is assumed to be major (an octave and a major 2nd) above the root.
The 11th is assumed to be perfect (an octave and a perfect 4th) above the root.
The 13th is assumed to be major (an octave and a major 6th) above the root.

Just as G#7 implies all pitches below the 7th are present, the symbols for extensions
are assumed to encompass every pitch below the notated extension.

G#9 = G#-B#-D#-F#-A#
F#m9 = F#-A-C#-E-G# (notice the order, it’s F#m...9, not F#...m9 which is F#add b9)
Bb 11 = Bb-D-F-A-C-Eb (“ ” still refers to the 7th. 9th & 11th follow defaults)
D13 = D-F#-A-C-E-G-B

As discussed in Unit 3, be careful when inverting an extended chord. It’s not strictly
impossible to invert an extended chord, but it is very likely that with many pitches
present the change of bass pitch may suggest another harmony with the bass note
heard as the root. Use your ears and logic to discern the appropriate label.

5c. Review of Default Intervals Above the Root

13th - assumed major, marked “b” for minor

11th - assumed perfect, marked “#” for augmented 11th
9th - assumed major, marked “b” for minor (sometimes you’ll see “#9” for aug. 9th)
7th - assumed minor, marked “ ” for major
5th - assumed perfect, marked “b” for diminished 5th in a major triad
3rd - assumed major, marked “m” for minor
[Root]

6. Altered Tones

Altered tones are noted at the end of the chord symbol. They can change the
accidental/interval of pitches already implied by the previous symbols or add new
pitches.
Bb11,b9 = Bb-D-F-Ab-Cb-Eb (adjusting a pitch included in previous symbols)
G7,b9 = G-B-D-F-Ab (adding a new pitch)

Important note: the accidentals given in the chord symbol are relative to the assumed
accidentals, not absolute accidentals to be applied to the pitches, as below...

Gb9,#11 = Gb-Bb-Db-Fb-Ab-C (not C#)

F#m7,b13 = F#-A-C#-E-D (not Db)

7. Suspensions, missing pitches, and added tones

Beyond these basic symbols, others are necessary to address certain specific cases.

The “sus” symbol, short for suspension (also encompassing “retardation”), means that
the indicated chord member is replacing the chord member of its resolution, usually the
3rd. Below are the two most common examples.

Dbsus4 = Db-Gb-Ab
Dbsus2 = Db-Eb-Ab

In both the above cases the 3rd is omitted as the suspended note takes its place.

If the suspension resolves it is customary to provide a new chord symbol reflecting the
resolution, such as Ebsus4 ... Eb.

For suspensions resolving to the root or fifth, chord symbols are more difficult to write,
and there is less agreement amongst publishers on how to accomplish this. If we try to
write a chord D-E-G which resolves to a C-E-G triad, it is clear theory and yet is quite
difficult to notate in chord symbols. Obviously the second symbol is C, but the first
doesn’t contain a C and is therefore dubious to label as being the C triad, so a variety of
solutions are possible. The clearest may be Cadd2,no1... C.

If there is a double suspension (D-F-G resolving to C-E-G), the symbols is relatively

clear as Csus2,sus4 ... C.

The “add” symbol, adds an additional tone to the pitches already present in the chord
symbol. If there is a seventh or extensions already present it is not necessary to say
“add” at all, since it will be implied.

Fadd#11 = F-A-C-B (this single added tone does not imply the extensions below it)
Fadd11,b13 = F-A-C-Bb-Db (multiple added tones can be noted, as in this example)
The following examples address related symbols involving the same pitch:

Dbadd2 = Db-Eb-F-Ab
Dbadd9 = Db-F-Ab-Eb
As a reminder, Db9 = D-F-Ab-Cb-Eb including all pitches below the 9th.

The distinction between add2 and add9 implies voicing of the chord. For the most part,
voicing of chords beyond the bass is not defined in chord symbols. However, a
distinction between added tones a second away from triad tones (2nds, 4ths, & 6ths)
and their extensions (9ths, 11ths, & 13ths, more than an octave away from the root) is
often made. In many cases these might be indistinguishable and interchangeable.
When a chord voicing contains the same pitch in both octaves (say a 2nd & 9th) there is
certainly no need to account for both and since there is no standard on this, either is
acceptable.

Because an added 6 has been so common in the last century, the “add” symbol is
usually left off. D6 is more common than Dadd6 though they mean the same chord. It
is simply an exception to our normal labeling.

To review the distinction between add/sus:

We wouldn’t write Bbsus11, instead one of the following is more appropriate:
Bbsus4 = Bb-Eb-F
Bbadd4 = Bb-D-Eb-F
Bbadd11 = Bb-D-F-Eb

The “no” symbol is used to denote that a pitch is missing.

Normally the missing pitch is the 3rd. Bno3 = B-F#

However, usually B-F# is notated as B5, which is another exception to our normal
labeling. More often you’ll see “no3” in a chord that has more pitches such as B9no3.
The 5th is actually the most common pitch that is dropped from a voicing. So one can
apply the label C7no5 to C-E-Bb, but the dropping of the fifth is so common and affects
the sound of the chord so little that it is rarely noted as all. Instead just C7 is fine.

Since we can’t omit the root, the only remaining pitches that can be omitted are the 7th
and the extensions. Since they are not assumed anyway, it would not make sense to
mark them as omitted, except possibly in cases similar to the following

With a 13th chord missing the 7th or a single extension, the omission is simpler to
notate. Bbmadd9,11,13 is more easily notated as Bbm13no7, simply to save space and
because at first glance Bbm13 more accurately captures the sound of the chord than
Bbm.
8. Extenuating Circumstances & Enharmonic Spellings

Notice that the following case uses “10” instead of “3”...

E9add b10 = E-G#-B-D-F#-G

Believe it or not this is not as uncommon as one might think. It is quite common in Jazz,
Funk, Soul and some American Folk music to see a major chord with an added minor
3rd in an upper voice. Often this is a result of a major chord accompanying a blues-
scale melody which uses a different version of that scale degree. In the above example
it would be most common as a dominant function (V) in A minor.

We will also use the term “split-member chord” to refer to this phenomena, something
Kostka notates as E9(3!), an equally viable label which is slightly more ambiguous since
it does not define a primary quality, treating both thirds as equal.

If we hear a chord: A-C#-E-D#, do we label it Aadd#4, Aadd#11, Ab5, or A(5!)?

The best answer is Aadd#11, fitting perfectly with the voicing listed. A(5!) is a second best
choice, still accounting for every pitch but equally weighting the E and D#, considering
them both 5ths of the chord instead of acknowledging that the lower E creates a stable
triad and therefore the upper pitch sounds more like an extension than a conflicting
dual-5th. Aadd#4, as previously mentioned, would require the D# to be an octave lower.
Ab5 is incorrect because it does not account for the E at all, misconstruing the D# as the
5th of the chord.

The question of whether the fourth pitch should be called D# or Eb (thus #11 or b5) can
be addressed by assessing the other notes present (it would be b5 if there were no E),
by looking at its relation to the key and its resolution (D#s resolve up to E, Ebs resolve
down to D), and by attempting to keep only one of each pitch letter present in any given
chord (meaning D# is better since there is already an E; if there were already a D in a
chord, Eb would likely be the better choice).

9. Labeling Errors

“C6no5” = C-E-A. This should be labelled Am/C. Without a 5th present this chord will be
heard as an A minor triad in inversion.

“Dsus2,no3,add9” = D-E-A-E. This should be labelled simply Dsus2. This label accounts for
all pitches present and the missing 3rd. Only one version of a given pitch class should
be present. There is never a need to note a 2nd and a 9th unless they are different
accidentals as in a split-member chord.