Ref: Chord Names/Notes/Spellings - Revision history

Meambobbo at 04:19, 25 February 2016

2016-02-25T04:19:56Z

Meambobbo at 04:06, 25 February 2016

2016-02-25T04:06:21Z

Meambobbo at 03:43, 23 March 2015

2015-03-23T03:43:32Z

Meambobbo at 19:50, 17 March 2015

2015-03-17T19:50:27Z

Meambobbo at 21:57, 27 February 2015

2015-02-27T21:57:53Z

Meambobbo at 18:51, 25 February 2015

2015-02-25T18:51:04Z

Meambobbo at 18:50, 25 February 2015

2015-02-25T18:50:43Z

Meambobbo at 15:08, 20 February 2015

2015-02-20T15:08:20Z

Meambobbo at 19:59, 19 February 2015

2015-02-19T19:59:44Z

Meambobbo at 21:57, 16 February 2015

2015-02-16T21:57:31Z

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 |-
 |rowspan="7"| Elevenths
-| Diatonic 11th || R [M3] P5 M7 M9 P11 || X{{9}}sus4 || R ||  || M9 ||  ||  || P11 ||   || P5 ||   ||  ||  || M7
+| Diatonic 11th || R [M3] P5 M7 M9 P11 || Xmaj{{9}}sus4<br>X{{maj}}{{9}}sus4 || R ||  || M9 ||  ||  || P11 ||   || P5 ||   ||  ||  || M7
 |-
 | Diatonic 11th (no 5th) || R [M3] [P5] M7 M9 P11 || Ydim/X<br>Y{{dim}}/X<br>''where Y = {{b}}X'' || R ||  || M9 ||  ||  || P11  ||  ||  ||   ||  ||  || M7

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 | Diatonic 11th || R [M3] P5 M7 M9 P11 || X{{9}}sus4 || R ||  || M9 ||  ||  || P11 ||   || P5 ||   ||  ||  || M7
 |-
-| Diatonic 11th (no 5th) || R [M3] [P5] M7 M9 P11 || Ydim/X<br>Y{{dim}}/X<br>''where Y = {{b}}X'' || R ||  || M9 ||  ||  ||   || P5 ||  ||   ||  ||  || M7
+| Diatonic 11th (no 5th) || R [M3] [P5] M7 M9 P11 || Ydim/X<br>Y{{dim}}/X<br>''where Y = {{b}}X'' || R ||  || M9 ||  ||  || P11  ||  ||  ||   ||  ||  || M7
 |-
 | Dominant 11th || R [M3] P5 m7 M9 P11 || X{{11}} || R ||  || M9 ||  ||  || P11 ||   || P5 ||   ||  || m7 ||

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 Chords are referred to by full (or "spoken") names as well as symbolic representations.  For example, "C Major" is the spoken name for (C E G), while the symbolic name is simply "C".
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 [[Category:Reference]]
 [[Category:Chords]]
 [[Category:Notation]]

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 * Sometimes a power chord will be written as "Root5" (ex. G5).  This technically isn't even a chord, but chord charts and chord symbols often write it in place of chords.
-This is enough to specify most chords; however, it cannot represent a number of chords typically found in Jazz.  Additional symbols are used to ''alter'' the chord after its basic structure is established.  These take the form of {{s}}/+ or {{b}}/- then a number.  The number indicates the member note of the chord by its interval against the root.  "{{s}}" or "+" indicates to sharp that note a half-step, while "{{b}}" or "-" indicates to flatten the note by a half-step.  (Jazz typically favors using "+" and "-" over "{{s}}" and "{{b}}", but their meaning is identical.)  For example, Cm{{7}}{{b}}5 (or Cm{{7}}-5 means to take Cm{{7}}, which consists of (R m3 P5 m7) and flatten the P5 to a d5, giving us (R m3 d5 m7).
+This is enough to specify most chords; however, it cannot represent a number of chords typically found in Jazz.  Additional symbols are used to ''alter'' the chord after its basic structure is established.  These take the form of {{s}}/+ or {{b}}/- then a number.  The number indicates the member note of the chord by its interval against the root.  "{{s}}" or "+" indicates to sharp that note a half-step, while "{{b}}" or "-" indicates to flat the note by a half-step.  (Jazz typically favors using "+" and "-" over "{{s}}" and "{{b}}", but their meaning is identical.)  For example, Cm{{7}}{{b}}5 (or Cm{{7}}-5 means to take Cm{{7}}, which consists of (R m3 P5 m7) and flat the P5 to a d5, giving us (R m3 d5 m7).
-If the note was not already part of the indicated chord, this means to add that note into the chord.  Our "baseline" version of the note is the one from the major scale (R M2 M3 P4 P5 M6 M7), but we are only really adding 9ths (2nds), 11ths (4ths), and 13ths (6ths) - the other notes are guaranteed to already be part of the chord.  So our baselines are M2, P4, and M6.  For example, C{{7}}{{b}}9 indicates the C{{7}} (R M3 P5 m7) but adds a flattened M9 (m2) into the chord (R M3 P5 m7 m9).
+If the note was not already part of the indicated chord, this means to add that note into the chord.  Our "baseline" version of the note is the one from the major scale (R M2 M3 P4 P5 M6 M7), but we are only really adding 9ths (2nds), 11ths (4ths), and 13ths (6ths) - the other notes are guaranteed to already be part of the chord.  So our baselines are M2, P4, and M6.  For example, C{{7}}{{b}}9 indicates the C{{7}} (R M3 P5 m7) but adds a flatted M9 (m2) into the chord (R M3 P5 m7 m9).
 In addition to representing chords that could not otherwise by indicated, this ''chord alteration notation'' allows us to represent known chords in perhaps less ambiguous or more easily communicated symbols.  For example, {{hdim}} is not a standard keyboard character, but C{{hdim}}{{7}} can be written as Cm{{7}}{{b}}5.

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 [[Category:Reference]]
 [[Category:Chords]]
 [[Category:Notation]]

← Older revision		Revision as of 15:08, 20 February 2015
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-{{crumbs|red|7
+{{Top-Level Crumbs|4}}
-|Ref: Common Scales|Scales
-|Ref: Circle of Fifths|Circle of 5ths
+{{Reference Crumbs|7}}
-|Ref: Fret Maps for all Keys|Fret Maps
 Chords are referred to by full (or "spoken") names as well as symbolic representations.  For example, "C Major" is the spoken name for (C E G), while the symbolic name is simply "C".