Discussion 3c - Leadsheet Notation

Class Discussion

We need a system that differentiates between function and quality, hence why we have Leadsheet Notation for quality and Roman Numeral Analysis for function.

Definitions of new/unfamiliar terms for leadsheet notation:

• Extended Harmony: Adding notes past our normal triads and 7th chords. Ex. C9
• Sub: taking one note out of the chord and replacing it with another. Ex. D11^(sub #11)
• Add: adding extra notes to the chord. Ex. Ab7^(add 4)
• Note: ^ symbol indicates superscript text. How we’re “supposed” to interpret leadsheet notation can change depending on the composer. One might not care whether you interpret C^11 as adding an 11th or a 4th, whereas others will specifically want an 11th because of how its sound differs from a 4th

What is the difference between an add 6 chord and an inverted minor seventh chord? (Ex: C^6 and Am7/C?)

• This is the point where roman numeral analysis becomes more useful! Leadsheet notation = construction, roman numeral analysis = finding function. The two chords have vastly different functions even though they contain the same notes and are shaped in the same way

What do we sub out in a sub chord?

• Whatever is closest! Ex: C (sub 6) replaces the 5th with the 6th

Why is leadsheet notation important for our class?

• Another way of organization?
• Understanding a chord can be more than one thing?
• Figured bass purposes?
• Easily understandable without having to bring tonality into it
  • Yes! Roman numerals rely on context, but leadsheet notation doesn’t.

Slash Chords

This is how we mark inversions for lead sheet notation (both triads and 7th chords).

Fro slash chords, here is an example: (Amin7/C) The A in this example represents the Tonic of the chord (the root). the “min7” tells us that this is a minor minor seventh chord (The quality of the Chord), and the C below tells us the bottom note (the bass). In this case, Amin7/C is a 1st inversion Amin7 seventh chord.

Unlike Roman Numerals and Chord Identification Notation (Mm7,MM7,dim7,etc.), the “7” from the quality of the chord description does not change to represnt the inversion. (from our example, we are reffering the the “7” in our Amin7/C). The “7” tells us that the chord is a seventh chord. The slash chord and note below tells us what the inversion is. If we were to transfer our example (Amin7/C) into our other quality identification system, it would look like: mm6/5, a minor minor chord seventh chord in first inversion.

Further Reading

From Open Music Theory

Lead-sheet symbols

A triad can be summed up by a single symbol, such as a lead-sheet chord symbol. A lead sheet symbol includes information about both root quality, as well as which pitch class occurs in the lowest voice (called the bass regardless of who is singing or playing that pitch).

A lead-sheet symbol begins with a capital letter (and, if necessary, an accidental) denoting the root of the chord. That letter is followed by information about a chord’s quality:

• major triad: no quality symbol is added
• minor triad: lower-case “m”
• diminished triad: lower-case “dim” or a degree sign “°”
• augmented triad: lower-case “aug” or a plus sign “+”

Finally, if a pitch class other than the chord root is the lowest note in the chord, a slash is added, followed by a capital letter denoting the pitch class in the bass (lowest) voice.

A C-major triad’s lead-sheet symbol is simply C. A C-minor triad is Cm. A D-sharp-diminished triad with an F-sharp in the bass is D#dim/F#. And so on.