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.
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
half diminished chord, F
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: 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 - 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 mj - mn [2-1d]
minor mn - mj [2-3d]
diminished mn - mn [2-4d]
hard diminished mj - dm [2-5d]
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]
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]
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 -
&
w
C major scale
1
w
2
w
3
w
4
w
5
w
6
w
7
&
w b
Alterations of the major scale
Neapolitan
lowered 2, usually + perfect 5th
w
w
b
b w #
raised 2
w #
raised 4 lowered 6, usually + perfect 5th
Moll-Dur
w b
w
w
b
b w
w
b
#
combination
&
b
b
b
w
C minor scale
1
w
2
w
3
w
4
w
5
w
6
w
7 aeolian
w n
7 harmonic
&
b
b
b
w b
Alterations of the minor scale
lowered 2
Neapolitan
w n
raised 3
Pic. 3rd
w #
raised 4
w n
raised 6, usually + perfect 5th
Dur-Moll
w
w
n
n
w
w
w
n
#
n
combination
Alterations
2011 Rowy
Major and Minor
- 1 -
&
1
w
w
w
C
maj.
CI a.
b.
c.
d.
2

b
b

D
maj.
II
II II

n
3
w
w
w
Dm
min.
II
4
w
w
w
b
II
II
D
dim.

md
5
w
w
w
b
#
II
D
hd.dim.
5

6
w
w
w #
II
E
db.dim.
3
7
w
w
w
#
#
II
E
dim.

&
8
w
w
w
Em
min.
III
9
w
w
w
IV
F
maj.
10
w
w
w
b
IV
Fm
min.
IV

md
11
w
w
w #
IV
F
dim.
12
w
w
w
b
#
IV
F
db.dim.
IV

3
md
13
w
w
w
V
G
maj.
14
w
w
w
b
V
G
hd.dim.
V

5
n
&
15
w
w
w
#
V
G
aug.

16
w
w
w b
A
VI
VI
aug.
md
17
w
w
w
b
b
VI
A
maj.
VI

md
18
w
w
w
Am
min.
VI
19
w
w
w
B
dim.
VII
20
w
w
w
b
B
db.dim.
VII
VII

3
n
21
w
w
w
#
B
hd.dim.
VII

5
Chords
2011 Rowy
Triads in Major
- 2 -
&
1
w
w
w
C
maj.
CI a.
b.
c.
d.
2

b
b

D
maj.
II
II II
n

3
w
w
w
Dm
min.
II
4
w
w
w
b
D
dim.
II
II

md
5
w
w
w
b
#
II
D
hd.dim.
5

6
w
w
w #
II
E
db.dim.
3
7
w
w
w
#
#
II
E
dim.

&
#
#
#
#
8
w
w
w
E
maj.
EI a.
b.
c.
d.
9

n
n

maj.
II
II
F
II
n

10
w
w
w
Fm
min.
II
11
w
w
w
n
F
dim.
II
II
md

12
w
w
w
n
#
II
F
hd.dim.
5

13
w
w
w
db.dim.
II
G

3
14
w
w
w
#

G
dim.
II

&
b
b
b
b
15
w
w
w
A
maj.
AI a.
b.
c.
d.
16

A
maj.
II
II II
n

17
w
w
w
Bm
min.
II
18
w
w
w
b
B
dim.
II
II

md
19
w
w
w
b
n
B
hd.dim.
II

5
20
w
w
w n
db.dim.
II
B
3

21
w
w
w
n
n
dim.
II
B

Chords
2011 Rowy
Triads in Major
- 3 -
&
b
b
b
1
w
w
w
cI
Cm
min.
a.
b.
c.
d.
2
w
w
w
n
I
C
I
maj.

Pic. 3rd
3
w
w
w b
II
II
D
maj.
n
4
w
w
w
D
dim.
II
5
w
w
w
n
II
II
Dm
min.

dm
6
w
w
w
#
D
hd.dim.
II

7
w
w
w
III
E
maj.
III
aeol.
&
b
b
b
8

III
III
E
aug.
III
harm.

9
w
w
w
Fm
min.
IV
10
w
w
w
n
IV
IV
F
maj.

dm
11
w
w
w #
F
db.dim.
IV
3
12
w
w
w
n
#
F
dim.
IV
IV

dm
13
w
w
w
Gm
min.
V
V
aeol.
14

G
maj.
V
V V
harm.

&
b
b
b
15

b
n

V
G
V
hd.dim.
V

n
16
w
w
w
A
maj.
VI
17
w
w
w n
VI
VI
A
dim.
dm
18
w
w
w
n
n
VI
VI
Am
min.

dm
19
w
w
w
VII
B
maj.
VII
aeol.
20

VII
B
dim.
VII
VII
harm.
21

b
n

B
db.dim.
VII
VII VII

3
n

Chords
2011 Rowy
Triads in Minor
- 4 -
&
b
b
b
1
w
w
w
cI
Cm
min.
a.
b.
c.
d.
2
w
w
w
n
I
C
I
maj.

Pic. 3rd
3
w
w
w b
II
II
D
maj.
n
4
w
w
w
II
D
dim.
5
w
w
w
n
II
II
Dm
min.

dm
6
w
w
w
#
D
II
hd.dim.

7
w
w
w
III
E
maj.
III
aeol.
&
8
w
w
w
min.
aI
Am
a.
b.
c.
d.
9
w
w
w
#
I
maj.
A
I
Pic. 3rd

10
w
w
w b
II
II
maj.
B
n
11
w
w
w
II
B
dim.
12
w
w
w
#
II
II
min.
Bm
dm

13
w
w
w
#
II
B
hd.dim.

14
w
w
w
III
maj.
III
C
aeol.
&
#
#
#
15
w
w
w
min.
fI
Fm
a.
b.
c.
d.
16
w
w
w
#
I
maj.
F
I
Pic. 3rd

17
w
w
w n
II
II
maj.
G
n
18
w
w
w
II
G
dim.
19
w
w
w
#
II
II
Gm
min.
dm

20
w
w
w
#
A
II
hd.dim.

21
w
w
w
III
maj.
III
A
aeol.
Chords
2011 Rowy
Triads in Minor
- 5 -
&
1
w
w
w
w
maj.7
C
CI a.
b.
c.
d.

maj7
2

b
b

II
maj.7
II
D
II

maj7
7n

3
w
w
w
w
II
min.7
Dm

7
4

II
hf.dim.7
II
Dm D
75
7md

5
w
w
w
w
b
#
II
hd.dim.7
D

75
6
w
w
w
w #
db.dim.7
II
E

73
&
7
w
w
w
w
#
#
dim.7
II
E

7
8
w
w
w
w
III
dim.7
Em

7
9
w
w
w
w
#
min.maj.7
III
Em

maj7
10
w
w
w
w
IV
maj.7
F

maj7
11
w
w
w
w
b
IV
min.maj.7
IV
Fm

maj7
7md
12
w
w
w
w
b
b
IV
min.7
IV
Fm

7
7md
&
13

IV
hf.dim.7
Fm F

75 7
14
w
w
w
w
b
#
b
IV
IV
db.dim.7
F

73
7md
15
w
w
w
w
V
dom.7
G

7
16
w
w
w
w
#
maj.7
G
V

maj7
17
w
w
w
w
b
V
hd.dim.7
V
G
75
7n

18
w
w
w
w
#
aug.dom.7
V
G

7
19
w
w
w
w
#
#
V
G
aug.7

maj7
&
20
w
w
w
w b
VI
aug.7
VI
A

maj7
7md
21
w
w
w
w
b
b
maj.7
VI
A
VI
maj7
7md

22
w
w
w
w
VI
min.7
Am

7
23

VII
hf.dim.7
Bm B

75 7
24
w
w
w
w
b
dim.7
VII
B
VII

7
7md
25
w
w
w
w
b
b
VII
db.dim.7
VII
B

73
7n
26
w
w
w
w
#
VII
hd.dim.7
B

75
Chords
2011 Rowy
Tetrads in Major
- 6 -
&
1
w
w
w
w
maj.7
C
CI a.
b.
c.
d.

maj7
2
w
w
w
w
b
b
II
maj.7
II
D

maj7
7n
3
w
w
w
w
II
Dm
min.7

7
4

II
hf.dim.7
II
Dm D
75
7md

5
w
w
w
w
b
#
II
hd.dim.7
D

75
6
w
w
w
w #
db.dim.7
II
E

73
&
7
w
w
w
w
#
#
dim.7
II
E

7
8
w
w
w
w
III
min.7
Em

7
9
w
w
w
w
#
min.maj.7
Em
III

maj7
10
w
w
w
w
IV
maj.7
F

maj7
11
w
w
w
w
b
IV
min.maj.7
IV
Fm

maj7
7md
12
w
w
w
w
b
b
IV
min.7
IV
Fm

7
7md
&
#
#
#
13
w
w
w
w
maj.7
AI
A
a.
b.
c.
d.

maj7
14
w
w
w
w
n
b
II
maj.7
II
B
maj7
7n

15
w
w
w
w
II
min.7
Bm

7
16

II
hf.dim.7
II
Bm B
75
7md
7

17
w
w
w
w
n
#
II
hd.dim.7
B

75
18
w
w
w
w #
II
C
db.dim.7

73
&
#
#
#
19
w
w
w
w
#
#
dim.7
II
C

7
20
w
w
w
w
III
min.7
Cm

7
21
w
w
w
w
#
min.maj.7
III
Cm

maj7
22
w
w
w
w
IV
maj.7
D

maj7
23
w
w
w
w
n
IV
min.maj.7
IV
Dm
maj7
7md

24
w
w
w
w
n
n
IV
min.7
IV
Dm
7
7md

Chords
2011 Rowy
Tetrads in Major
- 7 -
&
b
b
b
1
w
w
w
w
cI
cI
Cm
min.7
a.
b.
c.
d.

7aeol.

2
w
w
w
w
n
I
min.maj.7
I
Cm

7harm.
maj7
3
w
w
w
w b
II
maj.7
II
D

7n
maj7
4

hf.dim.7
II
Dm Dm

75

5
w
w
w
w
n
II
min.7
II
Dm

7dm

6
w
w
w
w
#
II
hd.dim.7
D

75
7
w
w
w
w
III
maj.7
E
III

7aeol.
maj7
&
b
b
b
8
w
w
w
w
n
III
aug.7
E
III

7harm.
maj7
9
w
w
w
w
b
III
dom.7
III
E

7n

10
w
w
w
w
b
n
III
aug.dom.7
III
E

7n

11
w
w
w
w
min.7
IV
Fm

12
w
w
w
w
n
IV
dom.7
IV
F

7dm

13
w
w
w
w
n
n
IV
maj.7
IV
F

7dm
maj7
14
w
w
w
w #
IV
db.dim.7
F

73
15
w
w
w
w
n
#
dim.7
IV
F

&
b
b
b
16

n
#
n

IV
hf.dim.7
Fm Fm

75
17
w
w
w
w
V
min.7
Gm
V
7aeol.

18

dom.7
G
V
V V
7harm.

19
w
w
w
w
#
min.maj.7
V
Gm

maj7
20
w
w
w
w
#
n
V
maj.7
G

maj7
21

V
V
Gm
hf.dim.7
Gm

7n
75
22
w
w
w
w
b
n
V
V
G
hd.dim.7

7n
75

23
w
w
w
w
VI
maj.7
A

maj7
&
b
b
b
24

VI
hf.dim.7
VI
Am Am

7dm
75
25
w
w
w
w
n
n
VI
min.7
VI
Am

7dm

26
w
w
w
w
dom.7
VII
B
VII

7aeol.

27

dim.7
VII
B
VII
VII

7harm.

28
w
w
w
w
n
VII
maj.7
VII
B

7dm
maj7
29

n
n

VII
VII
Bm
hf.dim.7
Bm

7dm
75

30
w
w
w
w
b
n
VII
db.dim.7
VII
B
7n
73

Chords
2011 Rowy
Tetrads in Minor
- 8 -
&
b
b
b
1
w
w
w
w
cI
cI
Cm
min.7
a.
b.
c.
d.

7aeol.

2
w
w
w
w
n
I
min.maj.7
I
Cm

7harm.
maj7
3
w
w
w
w b
II
maj.7
II
D

7n
maj7
4

hf.dim.7
II
Dm Dm

75

5
w
w
w
w
n
II
min.7
II
Dm

7dm

6
w
w
w
w
#
II
hd.dim.7
D

75
7
w
w
w
w
III
maj.7
E
III

7aeol.
maj7
&
b
b
b
8
w
w
w
w
n
III
aug.7
E
III

7harm.
maj7
9
w
w
w
w
b
III
dom.7
III
E

7n

10
w
w
w
w
b
n
III
aug.dom.7
III
E

7n

11
w
w
w
w
min.7
IV
Fm

12
w
w
w
w
n
IV
dom.7
IV
F

7dm

13
w
w
w
w
n
n
IV
maj.7
IV
F

7dm
maj7
14
w
w
w
w #
IV
db.dim.7
F

73
15
w
w
w
w
n
#
dim.7
IV
F

&
#
16
w
w
w
w
eI
Em
min.7
eI
a.
b.
c.
d.

7aeol.

17
w
w
w
w
#
min.maj.7
I
Em
I
7harm.
maj7

18
w
w
w
w n
II
maj.7
II
F

7n
maj7
19

hf.dim.7
II
Fm Fm

75

20
w
w
w
w
#
II
min.7
II
Fm
7dm

21
w
w
w
w
#
II
hd.dim.7
F

75
22
w
w
w
w
III
maj.7
G
III

7aeol.
maj7
&
#
23
w
w
w
w
#
III
aug.7
G
III
7harm.
maj7

24
w
w
w
w
n
III
dom.7
III
G
7n

25
w
w
w
w
n
#
III
aug.dom.7
III
G
7n

26
w
w
w
w
min.7
IV
Am

27
w
w
w
w
#
IV
dom.7
IV
A
7dm

28
w
w
w
w
#
#
IV
maj.7
IV
A
7dm
maj7

29
w
w
w
w #
IV
db.dim.7
B

73
30
w
w
w
w
#
#
dim.7
IV
B

Chords
2011 Rowy
Tetrads in Minor
- 9 -
&
1
w
w
w
w
w
CI
maj.9
C
a.
b.
c.
d.

maj

2
w
w
w
w
w
b
I
I
C
maj.(7)min.9

9n
maj79
3
w
w
w
w
w
min.9
II
Dm

4
w
w
w
w
w
#
III
Em
min.maj.(7)min.9

maj79
5
w
w
w
w
w
b
IV
IV
min.maj.9
Fm

9md
maj9
6
w
w
w
w
w
V
dom.9
G

&
7

V
aug.dom.9
G G G

8
w
w
w
w
w
#
#
V
aug.9
G

maj9
9
w
w
w
w
w
b
V
V
G
hd.dim.9

9n
95
10
w
w
w
w
w
b
b
VI
VI
maj.(7)aug.9
A

9md
maj7

9
11

VII
B
hf.dim.(7)min.9
Bm

79 759
12
w
w
w
w
w
b
VII
VII
B
dim.(7)min.9

9md
79
&
b
b
b
13
w
w
w
w
w
min.9
cI
Cm
a.
b.
c.
d.

14

I
Cm
min.maj.9
I
I
maj9

9harm.
15
w
w
w
w
w
hf.dim.(7)min.9
II
Dm

759
16
w
w
w
w
w
b
III
III
dom.9
E

9n

17
w
w
w
w
w
n
IV
dom.9
IV
F

9dm

18
w
w
w
w
w #
IV
db.dim.(7)min.9
F

739
&
b
b
b
19
w
w
w
w
w
n
#
IV
dim.(7)min.9
F

79
20

V
G
V
dom.(7)min.9
V


9harm.
79
21
w
w
w
w
w
n
b
V
G
hf.dim.9

22
w
w
w
w
w
b
n
V
V
G
hd.dim.(7)min.9

9n
759
23
w
w
w
w
w
maj.9
VI
A

24
w
w
w
w
w
n
b
VII
min.maj.9
Bm

maj9
Chords
2011 Rowy
Pentads
- 10 -
&
1
w
w
w
CI
C
maj.
a.
b.
d.
c.
2
w
w
w
I
C/E
maj.6
6
3
w
w
w
I
C/G
maj.4/6
6
4
4
w
w
w
b
II
II
D
dim.
md

5
5
w
w
w
b
II
II
D/F
dim.6
6

6md
6

II
dim.4/6
II
D/A
II
6
4
6
4
dim.
6md
4
&
7
w
w
w #
II
E
db.dim.
3
8

II
E
aug.6
II II
6
3
/F
It.6 It.

6
9
w
w
w
#
II
E
db.dim.4/6
6
4
3
/A
10

b
b

II
II
D
maj.
II
n

5
11

b
b

II
II
D/F
maj.6
II
6
6

6n
12

b
b

II
II
maj.4/6
D/A
II
6
4
6
4
maj.
6n
4
&
b
b
b
13
w
w
w
cI
min.
Cm
a.
b.
d.
c.
14
w
w
w
I
min.6
Cm/E
6
15
w
w
w
I
min.4/6
Cm/G
6
4
16
w
w
w
II
D
dim.
17
w
w
w
II
D/F
dim.6
6
18
w
w
w
II
dim.4/6
D/A
6
4
&
b
b
b
19
w
w
w
#
hd.dim.
II
D

hd.dim.

20
w
w
w #
II
D
hd.dim.6
6

/F
21
w
w
w
#
II
aug.4/6
D

6
4

5
/A
22
w
w
w b
D
maj.
II
II
n
23
w
w
w
b
II
II
D/F
maj.6
6
6n
24
w
w
w
b
II
II
D/A
maj.4/6
6
4
6n
4
Chords
2011 Rowy
Triad Inversions
- 11 -
&
1
w
w
w
w
CI
maj.7
C
a.
b.
d.
c.
maj.7
7
2
w
w
w
w
I
maj.5/6
C
maj.7
/E
6
5
3
w
w
w
w
I
maj.3/4
C
maj.7
/G
4
3
4

I
maj.2
C
I
maj.7
/B
2 4
2
5
w
w
w
w
b
II
II
hf.dim.7
D
md
7
7
7

II
II
D
hf.dim.5/6
Fm6
7
/F
6
5
md
6
5

hf.dim.
7
w
w
w
w b
II
D
hf.dim.3/4
II
7
/A
4
3
md
4
3
8
w
w
w
w
b
II
D
II
hf.dim.2
7
/C
2md
6
4
2
&
9
w
w
w
w #
E
II
db.dim.7
73
7
10

II
E
aug.5/6
II II
73
Gr. Gr.

6
6
5
/F
6
11
w
w
w
w
#
E
II
db.dim.3/4
73
4
3
/A
12
w
w
w
w
#
db.dim.2
II
E /C
73
2
13
w
w
w
w
V
dom.7
G
7
7
14
w
w
w
w
V
dom.5/6
G
7
/B
6
5
15
w
w
w
w
V
dom.3/4
G
7
/D
4
3
16 w
w
w
w
V
dom.2
G
7
/F
2
&
b
b
b
17
w
w
w
w
cI
min.7
Cm
cI
a.
b.
d.
c.
7
7
7aeol.
18

I
min.5/6
Cm
I
E6
7
/E
6
5
6aeol.
5
19
w
w
w
w
I
min.3/4
Cm
I
/G
7
4
3
4aeol.
3
20
w
w
w
w
I
min.2
Cm
I
/B
7
2
2aeol.
21
w
w
w
w
n
III
III
E
aug.7
7
7

7harm.
22
w
w
w
w
n
III
E
III
aug.5/6
/G
7
6harm.
5
6

23
w
w
w
w n
III
E
III
aug.3/4
7
/B
4
3
aug.
4harm.
3
24
w
w
w
w
n
III
E
III
aug.2
7
/D

6
4
2
2harm.
&
b
b
b
25
w
w
w
w
#
II
hd.dim.7
D

7
hd.dim. 7

26
w
w
w
w #
II
D
hd.dim.5/6

/F
7
6
5
27

II
D
aug.3/4
II II

5
/A
Fr.
7
Fr.

6
4
3
6
28
w
w
w
w
#
hd.dim.2
II
D

5
/C
7

4
2
29

dim.7
B
VII VII
7
7
30
w
w
w
w
n
VII
dim.5/6
B
7
/D
6
5
7
31
w
w
w
w
n
VII
dim.3/4
B
7
/F
4
3
32
w
w
w
w
n
VII
B
verm.2
7
/A
2
Chords
2011 Rowy
Tetrad Inversions
- 12 -
&
1

CV
maj. maj.6

C G/B
6
Suspensions
a.
b.
d.
c.
sus2
2

C
I
maj. maj.

C
sus2
3

V
C
maj.
C
inc.dom.5/6

G
sus4
6
5
/B
7no5
4

C
I
maj. maj.
C

sus4
&
b
b
b
5

V
cV
min.
G/B
maj.6

n
C
6
harm. 6
sus2
a.
b.
c.
d.
6

#
(V
C
min.
D
inc.dom.2

)
2
/C
sus2
7no5
V
7

IV
C
min.
Fm/C
min.4/6

6
4
sus4
8

V
min.
V
G G
dom.5/6

n
6
5
6
5
harm.
7
/B
7sus4
/C
&
9

C
maj.
G/B
maj.6

CI V
Anticipations
<---
6
sus2
a.
b.
c.
d.
10

b
C
maj.
VII
B
inc.dim.7

I VII
<---
7md
sus2
7no5

11

b
I
C
maj.
IV
IV
Fm/C
min.4/6

sus4
<---
6
4
md

6
4
12

I
C
maj.
Dm/F
min.6

I II
<---
6
sus2
&
b
b
b
13

n
min.
V
maj.6

cI
C
V
G/B
<---
6
6harm.
sus2
a.
b.
c.
d.
14

min. hf.dim.2

I
C
II
D
<---
2
7
/C
sus2
15

Cm
min.
V
G
dom.5/6

n
I V
<---
6
5
6
5
harm.
7
/B
add4
16

I
C
min.7
Fm
min.

IV
<---
7
7sus4
Chords
2011 Rowy
Suspensions and Anticipations
- 13 -
&
b
b
b
b
b
b
b
b
b
b
b
b
b
#
1
w
w
w
w
#
II
II
E
aug.5/6
3
Gr.

6
6
5
C
C
a.
b.
c.
d.
/F
2
w
w
w
w
V
F
dom.7
7
7
B
Enharmonically equal - examples
3
w
w
w
w
#
II
D
II
aug.3/4

5 7

6
4
3
c
c
Fr.

6
/A
4
w
w
w
w

V
A
V
hd.dim.7
D
7n
7

5
D

5
5
w
w
w
n
II
F
maj.

E
6
w
w
w n
II
maj.
F
II
n
e
e
&
b
#
#
b
b
b
b
#
#
7
w
w
w
w #
VII
VII
C
dim.7
d
7
a.
b.
c.
d.
7harm.
d
7
of D
16 enharmonically equal dim. 7th chords
8
w
w
w
w
b
VII
VII
dim.7
D
---
>
7
7md

7
D
9
w
w
w
w
n
#
IV
IV
dim.7
g
7

g
7dm
10
w
w
w
w
n
#
II
dim.7
B
7

11
w
w
w
w
#
VII
VII
dim.5/6
b
6
5
6harm.
5
b
&
#
#
#
#
#
# # #
#
#
#
#
b
b
b
b
12
w
w
w
w
n
VII
VII
dim.5/6
B
6

B
6md
5
13
w
w
w
w
#
#
IV
IV
dim.5/6
e
6
5
dim.
e
6dm
5
14
w
w
w
w
#
#
II
dim.5/6
G
6
5
dim.
15
w
w
w
w

VII
VII
dim.3/4
g

4
3
4harm.
3
g
16
w
w
w
w
b
VII
VII
dim.3/4
A
4

3
4md
3
A
&
#
#
#
#
#
#
#
#
b
b
b
b
b b
b
b
b
b
b
b
b
b
b
17
w
w
w
w
#

IV
IV
dim.3/4
c

6
4
3

c
4dm
3
18
w
w
w
w
#

II
dim.3/4
E

6
4
3

19
w
w
w
w
n
VII
VII
dim.2
f
2
2harm.
f
20
w
w
w
w b
VII
VII
dim.2
F
2 dim.
2md
F
21
w
w
w
w
n
n
IV
IV
dim.2
b
6

4
2
b
2dm
22
w
w
w
w
n
n
II
dim.2
D
6

4
2
Chords
2011 Rowy
Enharmonization and Interpretation
- 14 -
&
?
b
b
b
b
b
b
1

CI
C
IV
Fm
md
2

I
C/G
V
G
6
4
3
w
w
w
w
I
C
4

CI
C
=cIV
IV
Fm
md
5

I
Cm/G
V
G
6
4
6
w
w
w
b
w
cI
Cm
7

cI
Cm
IV
Fm
&
?
b
b
b
b
b
b
n
n
n
n
n
n
8

Cm/G
I V
G
6
4
9
w
w
w
n
w
I
C
Pic. 3rd
10

CI
C
IV
F
11

b
b

#


IV
A/G
V
G G
suspension
7md
sus4
12
w
w
w n
w
I
C
13

CI
C
IV
F
14

b
b

#

IV
A/G
V
G
susp.
7md
sus4
&
?
15

b

VII
A D/A
V
G
susp.
2md 7
16

# n
IV
F F
IV
F
susp.
7 7
maj7 no3add4
17

#
II
=aIV
Dm
IV
F/E
7
7 7
18

I
Am/E
V
E
6
4
19
w
w
w
w
aI
Am
&
?
20

b
b

CI
C
II
D
2n
maj7
/C
21

b n
II
D
V
G/D
7n 4
3
maj7
22
w
w
w
w
I
C
23
w
w
w
w
CI
C
24

b
IV
Fm
II
D
md n
25
w
w


n

V
G G
V
susp.
4
3
no5
/D
sus4
7
26
w
w
w
w
I
C
Chords
2011 Rowy
Harmonic Analysis
- 15 -
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