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 North-
West 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 number of a tone in the diatonic scale or the symbol of an interval (3 = third).
add. added, for instance add4, a fourth added to the chord.
aeol. Aeolian, natural minor scale, sometimes written as eolian.
alt. altered, a raised or lowered tone that, as a result, no longer belongs to the main key.
aug. augmented, a major or perfect interval raised by a half tone.
dim. diminished, a minor or perfect interval lowered by a half tone.
dm Dur-Moll (durmoll), German, 6th tone in a minor scale raised by a half tone.
dom. dominant, standard chord on the fifth tone of the diatonic scale.
Gr. German sixth, augmented 6th chord, first inversion of the double diminished 7th chord.
Fr. French sixth, augmented 6th chord, second inversion of the hard diminished 7th chord.
harm. harmonic, usually the harmonic minor scale.
hf. half
hd. hard, as in hard diminished. Hard diminished is known in the USA and other countries
as major flat 5 (triad) or dominant 7 flat 5 (tetrad).
It. Italian sixth, augmented 6th chord, first inversion of the double diminished 6th chord.
maj. major
md Moll-Dur (molldur), German, 6th tone in a major scale lowered by a half tone.
min. minor
N (or n) Neapolitan, lowered 2nd tone in a diatonic scale.
no as in no5, the 5th of the chord is missing.
inc. incomplete, a chord missing one or more tones. C7no5 is an incomplete chord.
Pic. 3rd Picardy third. Major third on the tonic of a minor scale at the end of a musical section.
sus 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 - 2017.

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: Harmonic (classical) analysis of the chord in Roman numerals.

Line b: The origin of the alteration (Neapolitan, Moll-Dur).
Line c: Popular (modern) notation of the chord, as used in popular music and jazz.
Line d: 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 - 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 mj - mn [2-1d]
minor mn - mj [2-3d]
diminished mn - mn [2-4d]
hard diminished mj - dm [2-5d] (USA: major flat 5)
double diminished dm - mj [2-6d]
augmented mj - mj [2-16d]

A tetrad (usually a seventh chord) - starting at sheet number 6 - consists of 3 thirds:

major 7 mj - mn - mj [6-1d]
minor 7 mn - mj - mn [6-3d]
minor major 7 mn - mj - mj [6-9d]
diminished 7 mn - mn - mn [6-7d]
half dim. 7 mn - mn - mj [6-4d]
hard dim. 7 mj - dm - mj [6-5d] (USA: dominant 7 flat 5)
double dim. 7 dm - mj - mn [6-6d]
augmented 7 mj - mj - mn [6-19d]
dominant 7 mj - mn - mn [6-15d]
aug. dominant 7 mj - mj - dm [6-18d]

A pentad (usually a ninth chord) - sheet number 10 - consists of 4 thirds:

major 9 mj - mn - mj - mn [10-1d]
minor 9 mn - mj - mn - mj [10-3d]
minor major 9 mn - mj - mj - mn [10-5d]
half diminished 9 mn - mn - mj - mj [10-21d]
hard diminished 9 mj - dm - mj - mj [10-9d] (USA: dominant 9 flat 5)
augmented 9 mj - mj - mn - mn [10-8d]
dominant 9 mj - mn - mn - mj [10-6d]
augmented dom. 9 mj - mj - dm - mj [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 major minor 9 mj - mn - mj - dm [10-2d]

minor major 7 minor 9 minor major minor 9 mn - mj - mj - dm [10-4d]
major 7 augmented 9 major augmented 9 mj - mn - mj - mj [10-10d]
diminished 7 minor 9 diminished minor 9 mn - mn - mn - mj [10-12d]
half diminished 7 minor 9 half diminished minor 9 mn - mn - mj - mn [10-11d]
hard diminished 7 minor 9 hard diminished minor 9 mj - dm - mj - mn [10-22d]
double diminished 7 minor 9 double diminished minor 9 dm - mj - mn - mj [10-18d]
dominant 7 minor 9 dominant minor 9 mj - mn - mn - mn [10-20d]

- The End -
 -1-
Alterations
Major and Minor

C major scale

&w w w w w
w w
1 2 3 4 5 6 7

Alterations of the major scale

& bw bw #w bw b b ww # b ww
bw #w
lowered 2, usually + perfect 5th raised 2 raised 4 lowered 6, usually + perfect 5th combination
Neapolitan Moll-Dur

b
C minor scale

&bb w w w w w w nw
w
1 2 3 4 5 6 7 aeolian 7 harmonic

b
Alterations of the minor scale

b nw nw
& b bw nw #w nw nw n # ww
lowered 2 raised 3 raised 4 raised 6, usually + perfect 5th combination
Neapolitan Pic. 3rd Dur-Moll

© 2011 Rowy
 -2-

Chords
Triads in Major

1 2 3 4 5 6 7

& www b b ˙˙˙ ˙˙˙ www b www # b www # www # # www

a. CI ≤II ≤II ¯fi II II ¯fi II ¯fi ≥II ≥II ˜
˜
b. II n II md
c. C D≤ Dm D— D ≤5 E≤— ≤3 E≤—
d. maj. maj. min. dim. hd.dim. db.dim. dim.

ww b www w w www b www

8 9 10 11 12 13 14

& www w # ww # b ww
III IV IV ¯ ≥IV ≥IV ¯ V V ¯fi
IV md ≥IV
md
Vn
Em F Fm F≥— F≥— ≤3 G G ≤5
min. maj. min. dim. db.dim. maj. hd.dim.

www b www # www

#w b www b b www www
15 16 17 18 19 20 21

& ww
V ˜fi ≤VI ≤VI ¯fi VI VII VII ¯ VII ˜
VI md VI md VII n
G± A≤± A≤ Am B— B— ≤3 B ≤5
aug. aug. maj. min. dim. db.dim. hd.dim.

© 2011 Rowy
 -3-

Chords
Triads in Major

1 2 3 4 5 6 7

& www b b ˙˙˙ ˙˙˙ www b www # b www # www # # www

a. CI ≤II ≤II ¯fi II II ¯fi II ¯fi ≥II ≥II ˜
˜
b. II n II md
c. C D≤ Dm D— D ≤5 E≤— ≤3 E≤—
d. maj. maj. min. dim. hd.dim. db.dim. dim.

#### n˙ ˙˙ ww n ww # n www w w
8 9 10 11 12 13 14

& www n ˙˙ ˙ w w ‹ ww ‹ # ww
a. EI Î II Î II Îfi II II Îfi II Îfi
˜ Ï II Ï II
˜
n
b. II II md
c. E F F≥m F≥— F≥ ≤5 G— ≤3 G—
d. maj. maj. min. dim. hd.dim. db.dim. dim.

bb w
& b b ww ∫ b ˙˙˙ ˙˙˙ www b www n b www n www n n www
15 16 17 18 19 20 21

a. A≤I ≤≤II ≤≤II ¯fi II II ¯fi II ¯fi Î II Î II Î

Î
b. II n II md
c. A≤ A B≤m B≤— B≤ ≤5 B— ≤3 B—
d. maj. maj. min. dim. hd.dim. db.dim. dim.

© 2011 Rowy
 -4-

Chords
Triads in Minor

b
1 2 3 4 5 6 7

& b b www n www b www www n www # www ww

w
a. cI IΩ ≤II II II Ω fi II ˜ III
Pic. 3rd n dm aeol.
b. I II II III
c. Cm C D≤ D— Dm D ¯fi E≤
d. min. maj. maj. dim. min. hd.dim. maj.

b ww n www w w www n ˙˙˙ ˙˙˙

8 9 10 11 12 13 14

& b b n ˙˙˙ ˙˙˙ w # ww # n ww

III III Ω fi IV IV Ω ≥IV ≥IV Ω V V VΩ
harm. dm dm aeol. harm.
III IV ≥IV V V
E≤± Fm F F≥— ≤3 F≥— Gm G
aug. min. maj. db.dim. dim. min. maj.

b b˙ www www n ˙˙˙ ˙˙˙ n b ˙˙˙ ˙˙˙

˙˙ n www n n www
15 16 17 18 19 20 21

& b b n ˙˙ ˙
V ¯fi V ¯fi VI ΩVI ΩVI Ω fi VII VII ΩVII VII ¯ ΩVII ¯
n Î dm dm aeol. harm. n
V VI VI VII VII VII
G ¯fi A≤ A— Am B≤ B— B— ≤3
hd.dim. maj. dim. min. maj. dim. db.dim.

© 2011 Rowy
 -5-

Chords
Triads in Minor

b
1 2 3 4 5 6 7

& b b www n www b www www n www # www ww

w
a. cI IΩ ≤II II II Ω fi II ˜ III
Pic. 3rd n dm aeol.
b. I II II III
c. Cm C D≤ D— Dm D ¯fi E≤
d. min. maj. maj. dim. min. hd.dim. maj.

w # www w ww # ww # www www

& ww b ww
8 9 10 11 12 13 14

w w
a. aI I˜ ≤II II II ˜fi II ˜ III
Pic. 3rd n dm aeol.
b. I II II III
c. Am A B≤ B— Bm B ¯fi C
d. min. maj. maj. dim. min. hd.dim. maj.

### w w ww # ww # www www

# www
15 16 17 18 19 20 21

& ww n ww w w
a. f ≥I I˜ ΩII II II ˜fi II ˜ III
Pic. 3rd n dm aeol.
b. I II II III
c. F≥m F≥ G G≥— G≥m A≤ ¯fi A
d. min. maj. maj. dim. min. hd.dim. maj.

© 2011 Rowy
 -6-
Chords
Tetrads in Major

˙˙˙ ˙˙˙ www b ˙˙˙˙ ˙˙˙ # b wwww www

1 2 3 4 5 6

& ww b
ww b˙ ˙ w ˙ #w
a. CI ‡ ≤II ‡¯fi ≤II ‡ II ‡ II ‡¯ II ‡¯ ≥II ‡
fi fi
b. II 7n II 7md ˜
c. C maj7 D≤ maj7 Dm7 Dm7≤5 DŸ ‡ D 7≤5 E≤—
7≤3

d. maj.7 maj.7 min.7 hf.dim.7 hd.dim.7 db.dim.7

www # www ww w bw
& # # wwww b www b www
7 8 9 10 11 12

w w ww
≥II ‡˜ III ‡ III ˜‡ IV ‡ IV ‡¯ IV ¯¯‡
IV 7md IV 7md
E≤— Em7 Em F maj7 Fm maj7 Fm7
7 maj7

dim.7 dim.7 min.maj.7 maj.7 min.maj.7 min.7

˙ ˙˙˙ www # www b www # www # # www

& # ˙˙˙ b #b wwww
13 14 15 16 17 18 19

˙ w w w w w
≥IV ‡ ≥IV ¯¯‡ V‡ V ˜‡ V ‡¯fi V ‡˜fi V ˜˜fi‡
7md 7n
≥IV V
F≥m7≤5 F≥Ÿ F≥—7≤3 G7 G maj7 G 7≤5 G± G±
7 7 maj7

hf.dim.7 db.dim.7 dom.7 maj.7 hd.dim.7 aug.dom.7 aug.7

ww 20 bww ww ˙˙˙ ˙˙˙ b www 24 bb www 25 w

w
# ww
& b ww b ww ww
21 22 23 26

˙ ˙ w w
≤VI ‡ ≤VI ‡¯fi VI ‡ VII ‡ VII ¯‡ VII ¯¯‡ VII ‡˜
VI 7md VI 7md VII 7md VII 7n
A≤± maj7 A≤ maj7 Am7 Bm7≤5 BŸ 7 B— 7 B— 7≤3 B7≤5
aug.7 maj.7 min.7 hf.dim.7 dim.7 db.dim.7 hd.dim.7

© 2011 Rowy
 -7-
Chords
Tetrads in Major

bb wwww www b ˙˙˙˙ ˙˙˙ # b wwww www

1 2 3 4 5 6

& ww
ww w ˙ #w
a. CI ‡ ≤II ‡¯fi II ‡ II ‡¯ II ‡¯ ≥II ‡
fi fi
b. II 7n II 7md ˜
c. C maj7 D≤ maj7 Dm
7
Dm7≤5 DŸ ‡ D 7≤5 E≤—
7≤3

d. maj.7 maj.7 min.7 hf.dim.7 hd.dim.7 db.dim.7

www # www ww w bw
& # # wwww b www b www
7 8 9 10 11 12

w w ww
≥II ‡˜ III ‡ III ˜‡ IV ‡ IV ‡¯ IV ¯¯‡
IV 7md IV 7md
E≤— Em7 Em maj7 F maj7 Fm maj7 Fm7
7

dim.7 min.7 min.maj.7 maj.7 min.maj.7 min.7

# # # www nb wwww www n ˙˙˙˙ ˙˙˙ # n wwww www

13 14 15 16 17 18

& w w ˙ #w
a. AI ‡ ≤II ‡Ωfi II ‡ II ‡Ωfi II ‡Ω ≥II ‡
fi
b. II 7n II 7md ˜
c. A
maj7
B≤ maj7 Bm7 Bm7≤5 BŸ 7 B7≤5 C—
7≤3

d. maj.7 maj.7 min.7 hf.dim.7 hd.dim.7 db.dim.7

www # www ww w nw
# # # # # wwww w w ww n www n www
19 20 21 22 23 24

&
≥II ‡˜ III ‡ III ˜‡ IV ‡ IV ‡Ω IV ΩΩ‡
IV 7md IV 7md
C— C≥m7 C≥m D maj7 Dm maj7 Dm7
7 maj7

dim.7 min.7 min.maj.7 maj.7 min.maj.7 min.7

© 2011 Rowy
 -8-
Chords
Tetrads in Minor

b ww ˙˙ ˙˙ n wwww w www
1 2 3 4 5 6 7

& b b www n www

b ww ˙˙ ˙˙ # www w
w w
a. cI ‡ I Ω‡ ≤II ‡ II ‡ II Ω‡fi II ‡˜ III ‡
b. cI 7aeol. I 7harm. II 7n II 7dm III
7aeol.

c. Cm‡ Cm maj7 D≤ maj7 Dm7≤5 DmŸ ‡ Dm‡ D7≤5 E≤

maj7

d. min.7 min.maj.7 maj.7 hf.dim.7 min.7 hd.dim.7 maj.7

b n wwww b www n b wwww www n wwww n n wwww ww ww

8 9 10 11 12 13 14 15

&bb w w # ww # n ww
III ‡Ωfi III ¯‡ III ¯Ω ‡ IV ‡ IV Ω‡ IV ΩΩ‡ ≥IV ‡ ≥IV ‡Ω
fi
7harm. 7n 7n 7dm 7dm
III III III IV IV
E≤±
maj7
E≤ ‡ E≤± ‡ Fm ‡ F‡ F maj7 F≥— 7≤3 F≥—‡
aug.7 dom.7 aug.dom.7 min.7 dom.7 maj.7 db.dim.7 dim.7

b n˙ ˙˙˙ ww ˙ ˙˙ # ww #w b ˙˙˙˙ ˙˙ w www 23

& b b n # ˙˙˙ n ˙˙˙ n www n b www
16 17 18 19 20 21 22

˙ ww ˙˙ ww ˙˙ w
‡
≥IV ΩΩ‡ V‡ V‡ V ‡Ω V ˜‡ V ˜Ω ‡ V‡ V ¯fi VI ‡
¯fi Ω
7aeol.
V V 7harm. V 7n
V 7n

F≥m F≥mŸ ‡ Gm ‡
7≤5
G‡ Gm maj7 maj7
Gm GmŸ ‡ G 7≤5
7≤5 maj7
G A≤
hf.dim.7 min.7 dom.7 min.maj.7 maj.7 hf.dim.7 hd.dim.7 maj.7

b b n ˙˙˙˙ ˙˙˙ w www 26 ˙˙ ˙˙˙ n www 28 n ˙˙˙ ˙˙˙ w

w
n n www n ˙˙ n b ww
24 25 27 29 30

& b ˙ w ˙ w n˙ ˙
ΩVI ‡ ΩVI ‡Ωfi VII ‡ VII ‡ ΩVII ‡ VII Ω‡ ΩVII Ω‡ ΩVII ‡¯
VI 7dm VI 7dm VII 7aeol. VII 7harm. VII 7dm VII 7dm VII 7n
Am7≤5 AmŸ ‡ Am ‡ B≤ ‡ B— ‡ B≤maj7 Bm7≤5 BmŸ ‡ B—7≤3
hf.dim.7 min.7 dom.7 dim.7 maj.7 hf.dim.7 db.dim.7

© 2011 Rowy
 -9-
Chords
Tetrads in Minor

b www ˙˙˙ ˙˙˙ www

n wwww # wwww
1 2 3 4 5 6 7

&bb ww
ww
n ww
ww bw ˙ ˙ w
a. cI ‡ I Ω‡ ≤II ‡ II ‡ II Ω‡fi II ‡˜ III ‡
b. cI 7aeol. I 7harm. II 7n II 7dm III
7aeol.

c. Cm‡ Cm maj7 D≤ maj7 Dm7≤5 DmŸ ‡ Dm ‡ D7≤5 E≤

maj7

d. min.7 min.maj.7 maj.7 hf.dim.7 min.7 hd.dim.7 maj.7

b n ww b www n b www ww w nw ww ww
n www n www
8 9 10 11 12 13 14 15

b
& b ww ww # ww # ww
n
w w
III ‡Ωfi III ¯‡ III ¯Ω ‡ IV ‡ IV ‡Ω IV ΩΩ‡ ≥IV ‡ ≥IV Ω‡
fi
7harm. 7n 7n 7dm 7dm
III III III IV IV
E≤±
maj7
E≤ ‡ E≤± ‡ Fm ‡ F‡ F maj7 F≥— 7≤3 F≥— ‡
aug.7 dom.7 aug.dom.7 min.7 dom.7 maj.7 db.dim.7 dim.7

# ww www ˙˙˙ ˙˙˙ # wwww www

# ww # wwww
16 17 18 19 20 21 22

& ww ww nw ˙ ˙ w
a. eI ‡ I ˜‡ ΩII ‡ II ‡ II ‡˜fi II ‡˜ III ‡
eI 7aeol. I 7harm. II 7n II 7dm
7aeol.
b. III
c. Em ‡ Em maj7 F maj7 F≥m7≤5 F≥mŸ ‡ F≥m‡ F≥ 7≤5 G
maj7

d. min.7 min.maj.7 maj.7 hf.dim.7 min.7 hd.dim.7 maj.7

# # www n www # n www ww 26 ww 27 # ww28 ww 29 ww30

ww # ww # ww # ww # # ww
23 24 25

& w w w
III ‡˜fi III Ω‡ Ω‡ IV ‡ IV ‡˜ IV ˜˜ ≥IV ‡ ≥IV ‡˜
7
III ˜fi
7harm.
III III 7n III 7n IV 7dm IV 7dm
G±
maj7
G‡ G± ‡ Am ‡ A‡ A maj7 B≤— 7≤3 B≤— ‡
aug.7 dom.7 aug.dom.7 min.7 dom.7 maj.7 db.dim.7 dim.7

© 2011 Rowy
 - 10 -
Chords
Pentads

www ww
www b www www # wwww www
1 2 3 4 5 6

& ww ww ww w b ww
a. CI · I ¯· II · III · IV · V·
˜‡ ¯
9n 9md
b. I IV
maj· maj7≤9 maj7≤9
c. C C Dm · Em Fm G·
maj9

d. maj.9 maj.(7)min.9 min.9 min.maj.(7)min.9 min.maj.9 dom.9

˙˙˙ ˙˙˙ ww ˙˙˙ ˙˙˙ b wwww

# # # wwwww w
w
b www b www
b ˙˙ ˙˙
7 8 9 10 11 12

& ˙˙ ˙˙ w
V· V ·˜‡ V· ≤VI ·¯ VII · VII ·¯
˜fi ¯fi fi ‡
˜fi 9n 9md 9md
V VI VII
G ·
G± G 9˜5 G± maj9 G 9≤5 A≤ maj7˜9 BŸ 7≤9 Bm 7≤5≤9 B— 7≤9
aug.dom.9 aug.9 hd.dim.9 maj.(7)aug.9 hf.dim.(7)min.9 dim.(7)min.9

b www www b wwww www 17 www

n ˙˙˙˙ ˙˙˙
13 14 15 16 18

&bb ww ˙˙ ww w n ww # ww
˙
a. cI · I· I ·Ω‡ II · III ·¯ IV ·Ω ≥IV ·
9harm. 9n
‡ 9dm
b. I III IV
c. Cm · Cm maj9 Dm 7≤5≤9 E≤ · F· F≥— 7≤3≤9
d. min.9 min.maj.9 hf.dim.(7)min.9 dom.9 dom.9 db.dim.(7)min.9

www ˙˙ ˙˙˙ nb www21 ww ww 23 n www

b n ˙˙˙ n b www www b ww
19 20 22 24

&bb # n ww ˙˙ ww
·
≥IV ·Ω V· V ·Ω V Ω· V ¯fi VI · VII ·Ω‡
¯fi Ω ¯
V 9harm. V 9n
F≥— 7≤9 G 7≤9 GŸ · G 7≤5≤9 A≤ · B≤m maj9
dim.(7)min.9 dom.(7)min.9 hf.dim.9 hd.dim.(7)min.9 maj.9 min.maj.9

© 2011 Rowy
 - 11 -
Chords
Triad Inversions

ww ˙˙ ˙˙
ww b www
1 2 3 4 5 6

& ww w w b www b˙ ˙
w
II ¯5
6 6 6 6
a. CI I6 I4 II ¯ II 4 dim.II 4
b. II md II 6md II 6md
4
c. C C/E C/G D— D—/F D—/A≤
d. maj. maj.6 maj.4/6 dim. dim.6 dim.4/6

# ˙˙ ˙˙ # www b b ˙˙˙ ˙˙ ˙
b b ˙˙
˙˙
7 8 9 10 11 12

& # www ˙ ˙ b b ˙˙˙ ˙˙˙ ˙ ˙

≤II ¯5
6 6 6 6
≥II ≥II 6 ≥II 4 ≤II ≤II 6 ≤II ¯ ≤II 4 maj. ≤II 4
≥II It.6 ≥II It.±6 II n II 6n II 6n
4
E≤— ≤3 E≤— ≤3/F E≤— ≤3/A D≤ D≤/F D≤/A≤
db.dim. aug.6 db.dim.4/6 maj. maj.6 maj.4/6

b ww ww ww ww
13 14 15 16 17 18

& b b ww w w www w w
w
6 6
a. cI I6 I4 II II 6 II 4
b.
c. Cm Cm/E≤ Cm/G D— D—/F D—/A≤
d. min. min.6 min.4/6 dim. dim.6 dim.4/6

b w # ww b ww b www
19 20 21 22 23 24

& b b # www # ww w b www w

II ˜ II 4˜
6 6
hd.dim.
II 6 ≤II ≤II 6 ≤II 4
II n II 6n II 6n
4
D ¯fi D ¯fi/F≥ D ¯5/A≤ D≤ D≤/F D≤/A≤
hd.dim. hd.dim.6 aug.4/6 maj. maj.6 maj.4/6

© 2011 Rowy
 - 12 -
Chords
Tetrad Inversions

˙ ˙˙˙ w 5 b ww 8
wwww wwww ˙˙˙ b ˙˙˙˙ ˙˙˙ b wwww ww
1 2 3 4 6 7

& www ˙ b ww
w ˙
w
6 ≤6
7 7
a. CI I 65 I 43 I2 I 24 II ¯fi II 5 hf.dim. 4
II 3 II 42
¯ 4
b. II 7 md II 65 md II 3 md II 2md
c. C maj.7 C maj.7 /E C maj.7/G C maj.7/B DŸ 7 DŸ 7 /F Fm6 DŸ 7/A≤ DŸ 7/C
d. maj.7 maj.5/6 maj.3/4 maj.2 hf.dim.7 hf.dim.5/6 hf.dim.3/4 hf.dim.2

w16
# ˙˙˙ ˙˙˙ # wwww w
w
# ww ww www wwww www
& # wwww
9 10 11 12 13 14 15

˙ ˙ ww w
7 6
≥II 65 ≥II 43 2 7
≥II ≥II V V5 V 43 V2
≥II Gr. 6 ≥II Gr.±6
E≤— 7≤3 E≤—7≤3 /F E≤— 7≤3 /A E≤— 7≤3 /C G 7 G 7/B G 7/D G 7/F
db.dim.7 aug.5/6 db.dim.3/4 db.dim.2 dom.7 dom.5/6 dom.3/4 dom.2

www20 w n ww24
b ˙˙˙˙ ˙˙˙˙ wwww n wwww n wwww n www ww
17 18 19 21 22 23

& b b www w
w 6 Ω6
III fi
7 6 4 2 7 4
a. cI I 5 I 3 I III Ωfi Ω III 3
aug.
III 42
b. cI 7aeol. I I 6aeol.
5
4aeol.
3 I 2aeol. III 7harm. III 6harm.
5 III 4harm.
3 III 2harm.
7 7 7
c. Cm Cm /E≤ E≤6 Cm /G Cm7/B≤ E≤± 7 E≤± /G
7 E≤± 7 /B E≤±7 /D
d. min.7 min.5/6 min.3/4 min.2 aug.7 aug.5/6 aug.3/4 aug.2

b #˙˙˙ ˙ # w
w w
w ww ˙˙˙ ww n wwww n www
25 26 27 28 29 30 31 32

&bb # www # ww ˙ ˙˙˙ ˙˙˙ n wwww

n˙ ˙
˜6
II 2˜4
6
VII ΩVII 7 VII 65
7
II ˜7 hd.dim.
II 5 II 3
4
VII 43 VII 2
II ±
Fr.6
Fr. 6
II
D 7 ¯fi D 7 ¯fi/F≥ D 7 ¯5 /A≤ D 7 ¯5 /C B—7 B— 7/D B—7/F B— 7 /A≤
hd.dim.7 hd.dim.5/6 aug.3/4 hd.dim.2 dim.7 dim.5/6 dim.3/4 verm.2

© 2011 Rowy
 - 13 -
Chords
Suspensions and Anticipations

Suspensions 1 2 3 4

& ˙˙ ˙˙ ˙˙ ˙˙˙ ˙ ˙ ˙˙ ˙˙˙

˙ ˙ ˙ ˙˙ ˙˙ ˙
6
a. CV 6 I V5 I
b.
c. C sus2 G/B C sus2 C C sus4 G 7no5 /B
C C sus4 C
d. maj. maj.6 maj. maj. maj. inc.dom.5/6 maj. maj.

b
5 6 7 8

& b b ˙˙ ˙ ˙ # ˙˙˙ ˙˙ ˙˙ ˙˙˙ ˙

˙ n ˙˙ ˙˙ ˙ ˙ ˙ n ˙˙˙
6 6
a. cV 6 (V 2) V IV 4 V5
6 harm.
b. V 6 harm. V5
c. C sus2 G/B C sus2 D 7no5 /C C sus4 Fm/C G 7sus4 /C G 7 /B
d. min. maj.6 min. inc.dom.2 min. min.4/6 min. dom.5/6

˙˙ <--- ˙˙
Anticipations 9 10 11 12

& ˙˙ ˙ ˙˙ b˙ ˙˙ <--- b ˙˙ ˙ ˙˙
˙ <--- ˙˙ ˙ <--- ˙˙ ˙ ˙ ˙
VII ¯‡ IV 4¯
6
a. CI V6 I I I II 6
b. VII 7md IV 64 md
c. C sus2 G/B C sus2 B— 7no5 C sus4 Fm/C C sus2 Dm/F
d. maj. maj.6 maj. inc.dim.7 maj. min.4/6 maj. min.6

b ˙ <--- ˙ ˙ <--- ˙˙
13 14 15 16

& b b ˙˙ ˙ ˙˙ ˙˙˙ ˙˙ ˙ ˙˙ ˙˙
˙ <--- n ˙˙ ˙ <--- ˙ ˙ n ˙˙ ˙
6
a. cI V6 I II 2 I V5 I7 IV
b. V 6harm. V 65 harm.
c. C sus2 G/B C sus2 DŸ 7/C Cm add4 G 7/B C 7sus4 Fm
d. min. maj.6 min. hf.dim.2 min. dom.5/6 min.7 min.

© 2011 Rowy
 - 14 -
Chords
Enharmonization and Interpretation

#w w # w
Enharmonically equal - examples

& # wwww bb www b b b www b b b b b ∫ www b b b n www

3 4 5 6

n ww
1 2

w
˜6
a. C ≥II 65 B≤ V 7 c II 43 D≤ V ¯¯5 E≤ II Ω e ΩII
b. C ≥II Gr.±6 c II Fr.±6 D≤ V 7n e II n
c. E≤— ≤3/F F7 D 7 ¯5/A≤ A≤7 ¯5 F F
d. aug.5/6 dom.7 aug.3/4 hd.dim.7 maj. maj.

## ##
16 enharmonically equal dim. 7th chords

b b n www b b n www
9 10 11

& b www b www # www

7 8

#w w #w #w w
D VII ¯7
7 7
a. d ≥VII 7 g ≥IV Ω B≤ ≥II Ω b ≥VII 65
b. d VII 7harm. D VII 7md g ≥IV 7dm b VII 65 harm.
c. C≥—7 or D≤—7 --->
d. dim.7 dim.7 dim.7 dim.7 dim.5/6

#### # # ####
b b b b b www
12 13 14 15 16

& # n www # ww # ww # ‹ www

w # ww # ww w w
6 dim. 6 dim. 6 4 4
B VII Ωfi e ≥IV 5 G ≥II 5 g≥ VII 3 A≤ VII ¯3
Ï
B VII 6md
5 e ≥IV 6dm
5 g≥ VII 4harm.
3 A≤ VII 4md
3

dim.5/6 dim.5/6 dim.5/6 dim.3/4 dim.3/4

#### ####
b b b b n www b b b b b n n www b b b b b n n www
17 18 19 20 21 22

& ‹ # wwww ‹ # wwww b www

w bw w w
˜6 ˜6 dim.
6 6
ΩIV Ω24
4 2 2
c≥ IV 3 E II 43 f ΩVII F VII b≤ D≤ ΩII Ω4
Ï Ï 2
c≥ IV 4dm f VII 2harm. F VII 2md b≤ ΩIV 2dm
Ï 3

dim.3/4 dim.3/4 dim.2 dim.2 dim.2 dim.2

© 2011 Rowy
 - 15 -
Chords
Harmonic Analysis

˙˙ b ˙˙˙ ˙˙ ˙˙ ww ˙˙ b ˙˙˙ b ˙˙ ˙˙ b ww b b b ˙˙˙ ˙˙

1 2 3 4 5 6 7

& ˙ ˙ ˙ w ˙ ˙ ˙ w ˙

?˙ ˙ ˙ ˙
˙ w ˙ ˙ ˙ w bbb ˙ ˙
md 6 md
CI IV I4 V I CI IV cI IV
=cIV I 64 V cI
C Fm C/G G C C Fm Cm/G G Cm Cm Fm

bbb ˙˙ n ˙˙ n ww n n n ˙˙˙ ˙˙˙ ˙˙ œ˙ œ ww ˙˙ ˙˙ ˙˙ ˙˙

8 9 10 11 suspension 12 13 14 susp.

& ˙ ˙ w b
b˙ nw ˙ ˙ b
b˙
˙ ˙

? b ˙ ˙ #˙ œ ˙ ˙ #˙ ˙
bb ˙ w nnn ˙ œ w
6 Pic. 3rd 7md
I 4 V I CI IV ≥IV V I CI IV ≥IV 7md V

Cm/G G C C F A≤‡/G≤ G sus4 G C C F A≤‡/G≤ G sus4

˙˙œ
susp. susp.

œ ˙˙ œ
15 16 17 18 19

& ˙ n ˙˙ œ ˙˙˙ ˙˙ ˙˙ ˙˙ # ˙˙ ww
˙ ˙ ˙ ˙ w
? b˙ ˙ #˙ n˙ ˙ #˙ ˙
˙ w
VII 2md V7 ≥IV 7 IV 7 II 7 7
=aIV ≥IV 7 I 64 V aI
no3add4 maj7
DŸ‡/A≤ A≤—‡ G‡ F≥Ÿ‡ F≥Ÿ‡ F Dm‡ F‡/E≤ Am/E E Am

ww ˙˙ 24b ˙˙ w˙ ˙ www
& ˙˙˙ b b ˙˙˙ b ˙˙˙ ww
susp. 25
˙˙˙
20 21 22 23 26

w w b˙ ˙ w

? ˙ ˙ b˙ n˙ w w ˙ b˙ n˙
˙ w
II 2n II 7n V 43 IV md II n
4
CI I CI V3 V7 I

C D≤ maj7/C D≤ maj7 G‡/D C C Fm D≤ G‡ sus4 /D G‡ no5 C

© 2011 Rowy