Chord Nomenclature

Theory IV - University of Houston

I. Triads

& ww w
bw
w
w bw
w w w
w
w
? ww ww # ww b ww w w
o w w
C C min C+ C
c C aug C dim C/E C/G

b b ww b www
II. Seventh Chords * (notice the similarity here)
& ww ww b ww b ww b b ww b ww
? ww bw bw bw bw w w w
w w w w bw w w
C 7 (b5) C ø7/E b
e b min/C e b min6
C Maj7 C7 C min7 C ø7 C min-Maj7 C 7(!7)
C ∆7 c7

III. Added Ninths(Seconds), and Ninth Chords

&w
wA. added ninthsb(seconds)
w
w
#w
w
ww
w b www w
b b ww b b www b b www
B. ninth chords

? ww ww ww ww ww ww ww ww
C addb 9
C add# 9
C add2 C (!3) C Maj9 C9 C min9 C 7-b9 C 7-(!3)
C add9 C 7-#9

IV. Sus4, Added Eleventh (Fourths), and Eleventh Chords

&w b ww
b ww # ww b ww
A. added elevenths (fourths) B. eleventh chords

w w
? ww ww ww ww b ww
w
C sus4 C min-add4 C add#4 C 11 C min11
C add11 C min-add11 C add#11 F: V 11
not: g 7/C

bw bw bw
& b # www # www # ww # ww # ww
? ww bw
w
w
w
bw
w
bw
w
C Maj7-b 9-# 11 C 9-#11 C Maj7-b 9-# 11 C b 9 - # 11 C 7-(!3)-#11
C 7-#9-#11
Joel Love ©2009
 Chord Nomenclature
V. Thirteenths

& ww b ww www b www ww ww

A. add 6 * B. thirteenth chords

? ww w w w ww b(ww )
w w w w w
C add6 C min-add6 C add6,2 C add6-b 9 C Maj7-13 C 13
6
C6 C min6 C9

# ww
b b wwww
= a ø7/C

w ww b ww
& ww w w ww b www
? ww bw
w
bw
w
bw
w
bw
w
bw
w
C Maj7-9-13 C 9-13 C 7-b 9-13 C 7-#9-b 13 C 7-9-# 11-13 C min9-13

VI. Quartal and Qunital

ww ww
& bw b bb www b bb www ww w
A. Quartal B. Quintal

bw w ww
? ww ww b ww ww ww
w w
Kostka 4 x 4 on C 5 x 4 on C 6 x 4 on C 4 x 5 on C 5 x 5 on C 6 x 5 on C
quartal tetrad on C quartal pentad on C quartal hexad on C quintal tetrad on C quintal pentad on C quartal hexad on C

n ww
BHN

& # # # www w
VII. Polychords

b b ww
? w b b www b ww
ww b b b wwww
b

GMaj/ B b min E b 7/ F b M a j
b # #
F#Maj/CMaj
or ( F ∆7- 9- 11-13 ) ?

A few points for consideration:

1) Although this sheet contains many of the sonorities that we will encounter, it still is not exhaustive.
2) Some of these voicings found above are typical, some are atypical, and all are variable.
3) In terms of nomenclature, all chords are designated with reference to root and quality.
4) Alternate symbols are given in some cases. Prefence is a personal matter. Being consistent is more
important.

*- The similarity of a half-diminished seventh chord in first inversion to a minor add6 six chord is
worthy of note.