Thanks Darcy and all,
I've always wondered how the minor-major chord was indicated, as well as
the whole added-note thing. Makes a lot of sense.
Do you ever use things like "Cadd2" to indicate CDEG? Or from what you
write below, you would write C(9)?
And I note that you don't use the aug7 suffix anywhere - is there any
reason for that? Is it not used in jazz very much?
With 11th chords, I believe the convention is to omit the 3rd?
(Presumably if it's based on a major triad, unlike your examples below).
If the 3rd is actually desired, is it necessary to add it in
explicitly into the symbols?
Thanks again, it's very useful, esp coming from a more figured-bass
centric world.
Also, I tried the MIDI Analysis of my original chord EG#A#B#D using
Finale after Christopher's suggestion and it gave me BbM9(b5)/E which I
suppose is fine given it didn't know the spelling of what I was after.
Analysing the written pitches using One-Staff Analysis resulted in
Bb7(#11)/E, even though there is no Bb in the chord. For CDEG, Finale
gave Em7(#5)/C for crying out loud. So it's of course an inexact
science, as folks have pointed out.
Cheers
Matthew
On 27/01/11 4:21 PM, Darcy James Argue wrote:
Hi Matt,
As Chuck said, I typed this quickly -- too quickly, in fact. Please allow me to
correct some typos:
Root + m3 + dim5 + m7 = ø [or mi7(b5)] -- C Eb Gb Bb =
I was missing the chord symbol at the end there -- should be:
Root + m3 + dim5 + m7 = ø [or mi7(b5)] -- C Eb Gb Bb = *Cø [or Cmi7(b5)]*
Root + MA3 (+ P5) + m7 + MA9 + MA13 = MA13 -- C E (G) B D A = CMA13
Typo there on the seventh -- should be MA7, of course:
Root + MA3 (+ P5) + *MA7* + MA9 + MA13 = MA13 -- C E (G) B D A = CMA13
Cheers,
- DJA
-----
WEB: http://www.secretsocietymusic.org
On 26 Jan 2011, at 11:58 PM, Darcy James Argue wrote:
Hi Matt,
Close:
E G# A# B# D = E7 (#11 #5)
(Though the actual chord symbol would have the #11 stacked vertically above the
#5, with both alterations enclosed in tall brackets.)
I've never encountered what you are looking for on the internet but you could
do worse than to pick up The Jazz Theory Book by Mark Levine.
But the short version is that jazz chord quality is determined by the basic
chord tones --i.e., the root, 3rd and 7th:
Root + MA3 + MA7 = MA7 -- C E B = CMA7
Root + MA3 + mi7 = 7 -- C Eb Bb = Cmi7
Root + m3 + MA7 = mi(MA)7 -- C Eb B = Cmi(MA7)
Root + m3 + m7 = mi7 -- C Eb Bb = Cmi7
The natural fifth can be added to all of the above chords, but it's not
essential.
Fully diminished and half-diminshed chords require a (flattened) 5th in
addition to the 3rd and 7th:
Root + m3 + dim5 + m7 = ø [or mi7(b5)] -- C Eb Gb Bb =
Root + m3 + dim5 + dim7 = o7 [or dim7] -- C Eb Gb Bbb = Co7
On MA7 and mi(MA)7 chords, you can substitute the 6th for the seventh -- this
is frequently done to avoid a clash when the root is in the melody:
Root + MA3 (+ P5) + MA6 = 6 -- C E (G) A = C6
Root + mi3 (+ P5) + MA6 = mi6 -- C Eb (G) A = Cmi6
Natural extensions are the 9th and 13th -- they can be indicated by replacing "7" with
"9" or "13." The 13th implies the presence of a 9th. For instance:
Root + MA3 (+ P5) + MA7 + MA9 = MA9 -- C E (G) B D = CMA9
Root + MA3 (+ P5) + m7 + MA9 + MA13 = MA13 -- C E (G) B D A = CMA13
On minor chords, the 11th is also available as a natural extension (and implies
the presence of a 9th):
Root + mi3 (+ P5) + mi7 + MA9 + P11 = mi11 -- C Eb (G) Bb D F = Cmi11
Root + mi3 (+ P5) + MA7 + MA9 + P11 = mi11(MA7) -- C Eb (G) B D F = Cmi11(MA7)
Alterations include #5ths, b9ths, #9ths, #and 11ths. Alterations are most often
applied to dominant seventh chords. They are listed in parentheses. Multiple
alterations are usually stacked vertically, with the highest alteration on top.
(That's hard to do in email without resorting to fixed-width fonts, so I won't
do that here -- I'll just list them horizontally.)
Root + MA3 + mi7 + aug9 = 7(#9) -- C E Bb D# = C7(#9)
Root + MA3 + mi7+ mi9 + aug11 + MA13 = 13 (#11 b9) = C E Bb Db F# A = C13 (#11
b9)
There's obviously a lot more to it, but the above outlines the basic principles
and should allow you to generate understandable chord symbols for most
commonly-used jazz chords.
Cheers,
- DJA
-----
WEB: http://www.secretsocietymusic.org
On 26 Jan 2011, at 10:47 PM, Matthew Hindson (gmail) wrote:
So, something like:
E G# A# B# D and it will give whatever it is (Eaug7#11?)
(Sorry if the chord is wrong, I'm not much of a jazz theoretician.)
Matthew
On 27/01/11 12:43 PM, dershem wrote:
On 1/26/2011 4:55 PM, Matthew Hindson (gmail) wrote:
Forgive if this is a dumb or simplistic question, but does anyone know
of such a thing on the 'net wherein you can specify letter names and it
will give the variety of jazz chord names for such a chord?
Thanks in advance
Matthew
Not sure what you mean. Can you give an example?
cd
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