Lesson 3c - Leadsheet Notation

In looking at triads and seventh chords, we have only learned how to label and classify these musical objects without specifying a particular root. A major triad or a dominant seventh chord can be built off any of the twelve pitch-classes, and each of the pitch-classes have multiple options depending on which enharmonic equivalent you choose as the root.

There is one commonly-used method that we allows us to label specific triads and seventh chords as well as their inversions: leadsheet notation. This is also sometimes referred to as slash-chord notation, jazz chord symbols, or pop chord symbols. This system for labeling chords is prevalent in jazz and pop music but is extremely useful to all musicians because it creates a reliable way to communicate chords of any complexity in a concise manner.

Even after we introduce Roman numeral analysis and harmonic function in Unit 6,we will use leadsheet notation to provide a harmonic overview of complex analyses before we try to assign harmonic function and relationships. For example, if we have a C major triad and an F major triad and no other context, we cannot be sure what key this is. For those with a knowledge of diatonic function, it would seem most likely that these two chords belong to F major, but they could also exist diatonically in the keys of C major, D minor, A minor, as well as various modes. When analyzing harmonically ambiguous functions, it is critical to have a shorthand for labeling chords, so that we can look at the overview rather than re-analyzing each chord every time we come to a section of music.

Goals for this topic

Using the examples below:

• determine the standard methods for labeling all chord qualities
  • match these to our current labels (e.g. Major minor (Mm) chords are the same as a dominant seventh chord which is then labeled as…)
• determine the method for denoting inversions
  • match these inversions to their corresponding inversion figures for both triads and seventh chords
• figure out the difference between using sub and add in your leadsheet notation

Labeling triads

Labeling seventh chords

Labeling inversions

Extensions and Using Sub vs. Add

Conclusions

The general naming system that we have used thus far allows us to talk about general categories of triads and seventh chords, but does not allow us to specify the exact root of a chord. Leadsheet notation is a shorthand method written above the staff that specifies a chord’s root and quality. Leadsheet notation never had a centralized authority, so over many decades, it evolved various ways to denote the same chord qualities.

Leadsheet notation consists of a note name followed by a chord shorthand. The note name denotes the root of the chord, and is most commonly an upper-case letter regardless of the chord’s quality. Some systems use a lower-case letter for minor chords, but this is less common and can become prolematic if the writer’s penmanship is poor. For this course, please always use an upper-case root.

The chord quality shorthand can vary greatly, so we have listed the more common possibilites below for chords with a root of C. I have listed them in my order of preference – again taking student penmanship into account. Clarity should be valued above brevity.

• Major Triad: C (no shorthand necessary, just a capital root name)
• Minor Triad: Cmin, Cm, C-
• Augmented Triad: Caug, C⁺

• Diminished Triad: Cdim, C^o

• Major major (major seventh chord): Cmaj⁷, C^M7, C^Δ
• Major minor (dominant seventh chord): C⁷
• Minor minor (minor seventh chord): Cmin⁷, Cm⁷, C-⁷
• Diminished minor (half-diminished seventh chord): C^ø7, C^ø, Cmin^7(♭5)
• Diminished diminished (fully-diminished seventh chord): Cdim⁷, C^o7

Inversions

We are also able to show chord inversions in leadsheet notation by using slash-chords. To use slashchords, you use standard standard leadsheet notation followed by a slash (/) and then the bass note. This allows you to show any inversion. For example:

• C⁷/E is a C dominant seventh chord in first-inversion.
• C⁷/G is a C dominant seventh chord in second-inversion.
• C⁷/B♭ is a C dominant seventh chord in third-inversion.

Extended harmonies

Some forms of tertian harmony use chords that have extensions beyond the seventh. Because we consider these extensions as stacked thirds continuing above the seventh chord, we typically uses the terms ninth for the second scale degree, eleventh for the fourth scale degree, and thirteenth for the sixth scale degree. If you have Cmin¹¹ implies that it has the normal minor seventh chord with both the diatonic ninth and eleventh added above it.

As with standard leadsheet notation for seventh chords, if you have a number alone, it always implies a dominant seventh chord with extensions. A C¹³ is a dominant seventh chord with extensions up to the thirteenth. (One notable exception is the C^6/9 chord. This chord implies a major seventh.)

Sus chords

As we move into studying the ways that composers embellish their music later in the course, we will study suspensions–a note that does not belong to a chord, but instead adds extra tension and color before resolving downward by step. There are many different possible suspensions, but in leadsheet notation, there is an assumed suspension that will always be used.

Csus

Any time that you see the abbreviation sus added to a chord, this implies that there is no chordal third. Instead, you will use the diatonic pitch that is a fourth above the root. So for a Csus, you will replace the E that would normally be present in that chord with an F. This would not change even if the bass note was altered; it will always be the chordal third.

Sub and Add

The two commands sub and add are useful when writing leadsheet notation of non-standard chords. Admittedly, these will not be used much in diatonic harmony, but understanding their usage now will help when we move into chromatic harmonies.

Because triads and seventh chords are built in thirds, every third above the root has a predetermined quality based on the chord quality and root. If you would like to alter one of those chordal members, you can use the sub followed by an altered chordal member to imply that you are replacing that chordal member. For example, the alternate method for half-diminished seventh chords comes from this. Because a diminished triad is a minor triad with a lowered fifth chordal member, you could use the leadsheet notation for a minor seventh chord and substitute a lowered 5th. This would look like:

Cmin^{7(sub b5)}

Admittedly, this method for notating half-diminished seventh chords is common enough that it is not required to use “sub” in this particular example, but this is still an excellent example of the proper way to use the sub command.

Add, on the other hand, does not alter any of the chordal members, but instead adds an extra chord tone. If you would like to add a raised ninth to a dominant 7th chord without altering the third, you could use:

C^7(add#9)