rowy chords version 4 2013

8/13/2019 Rowy Chords Version 4 2013

1/22

Chords

Names and Symbols

for

Teachers/Advanced StudentsHarmony

byRowy

composer.rowy.net


2/22

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.---

Chordswas 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 modernnotation of chords. Chordsis not a course in classical harmony. If you're really interested in harmony,

I suggest you study the excellentHarmony & Voice Leadingby 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 Chordsto be very useful.

2011 Rowy


3/22

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


4/22

Chords

You may use Chordsfor 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.


5/22

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 realneed 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 stylein line 1 and 2, and popular (modern) symbolization in line 3.


6/22

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 doublesharp, 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]. Toavoid 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].


7/22

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 -


8/22

wC major scale1

w

w3

w4

w5

w6

w7

wAlterations of the major scale

Neapolitan

lowered 2, usually + perfect 5thw wraised 2 wraised 4 lowered 6, usually + perfect 5th

Moll-Dur

w ww wcombination bbb wC minor scale

1

w

w3

w4

w5

w6

w7 aeolian

w7 harmonic

bbb wAlterations of the minor scalelowered 2

Neapolitan

wraised 3

Pic. 3rd

wraised 4

wraised 6, usually + perfect 5th

Dur-Moll

ww wwcombination

Alterations

2011 Rowy

Major and Minor

- 1 -


9/22

1wCmaj

bcd

2

b DmajIIII II

n

3wDmmin

4wIIIIDdim

md

5wIIDhd dim

5

6wIIEdb dim

7wIIEdim

8wEmmin

9wV

Fmaj

10wIVFmminIV md

11wIVFdim

12wIVFdb dimIV

md

13wV

Gmaj

14wVGhd dimV

5

n

15wVGaug

16wAVIVIaug

md

17wVIAmajVI

md

18wAmmin

V

19wBdim

V

20wBdb dim

VIIVII

n

21wBhd dim

VII 5

Chords

2011 Rowy

Triads in Major

- 2 -


10/22

1wCmaj

Ibcd

2

b DmajIIII IIn

3wDmmin

II

4wDdimIIII

md

5wIIDhd dim

5

6wIIEdb dim

3

7wIIEdim

8wEmaj

EIbcd

9

n majIIIIF

IIn

10wFmmin

II

11wFdimIIII md

12wIIFhd dim

5

13wdb dim

IIG

3

14wGdim

II

bbbb 15wAmaj

Ibcd

16

b AmajII II IIn

17wBmmin

II

18wBdimIIII md

19wBhd dim

II 5

20wdb dim

IIB 3

21wdim

IIB

Chords

2011 Rowy

Triads in Major

- 3 -


11/22

bbb 1wcCmmin

abcd

2wICI

maj

Pic 3rd

3wIIIIDmaj

n

4wDdim

5wIIIIDmmin

dm

6wDhd dim

II

7wEmaj

aeol

bbb 8n Eaug

harm

9wFmmin

10wIVIVFmaj

dm

11wFdb dim

IV3

12wFdimIVIV

dm

13wGmmin

aeol

14

n Gmaj

harm

bbb 15b VGVhd dim

V

n

16wAmaj

17wVIVIAdim

dm

18wVIVIAmmin

dm

19wBmaj

aeol

20

Bdim

harm

21

b Bdb dimVIIVII VII

3n

Chords

2011 Rowy

Triads in Minor

- 4 -


12/22

bbb 1wc

Cmmin

abcd

2wICI

maj

Pic 3rd

3wIIIIDmaj

n

4w

Ddim

5wIIIIDmmin

dm

6wDII

hd dim

7w

Emajaeol

8wminAm

abcd

9wI

majAI Pic 3rd

10wIIIImajB

n

11w

Bdim

12wIIII

minBmdm

13wIIBhd dim

14w

majCaeol

15wmin

f

Fmabcd

16wI

majFI

Pic 3rd

17wIIIImajG

n

18w

Gdim

19wIIIIGmmin

dm

20wAII

hd dim

21w

majAaeol

Chords

2011 Rowy

Triads in Minor

- 5 -


13/22

1wmaj 7C

bcd

maj7

2

b II

maj 7IID

IImaj7

7n

3w

min 7Dm

7

4

b II

hf dim 7IIDm D5

7md

5wII

hd dim 7D

75

6wdb dim 7

IIE

73

7wdim 7

IIE

7

8w

dim 7Em7

9wmin maj 7

IIIEm

maj7

10wV

maj 7F

maj7

11wIV

min maj 7IVFm

maj7

7md

12wIV

min 7IVFm

7

7md

13IV

hf dim 7Fm F

75 7

14wIV

IVdb dim 7F

73

7md

15wV

dom 7G7

16wmaj 7GV

maj7

17wV

hd dim 7VG 75

7n

18waug dom 7

VG

7

19wVGaug 7

maj7

20wVI

aug 7VIA

maj7

7md

21wmaj 7VIA

VImaj7

7md

22wV

min 7Am7

23

V

hf dim 7Bm B

75 7

24wdim 7VIIBVII

7

7md

25wVII

db dim 7VIIB

73

7n

26wVII

hd dim 7B

75

Chords

2011 Rowy

Tetrads in Major

- 6 -


14/22

1wmaj 7CI

bcd

maj7

2wII

maj 7IID

maj7

7n

3wII

Dmmin 7

7

4

b II

hf dim 7IIDm D5

7md

5wII

hd dim 7D

75

6wdb dim 7

IIE

73

7wdim 7

IIE

7

8wIII

min 7Em7

9wmin maj 7EmIII

maj7

10wIV

maj 7F

maj7

11wIV

min maj 7IVFm

maj7

7md

12wIV

min 7IVFm

7

7md

13wmaj 7

I

Aabcd

maj7

14wII

maj 7IIBmaj7

7n

15wII

min 7Bm

7

16n II

hf dim 7IIBm B5

7md7

17wII

hd dim 7B

75

18w IICdb dim 7

73

19wdim 7

IIC

7

20wIII

min 7Cm

7

21wmin maj 7

IIICm

maj7

22

IV

maj 7D

maj7

23

IV

min maj 7IVDm maj7

7md

24

IV

min 7IVDm7

7md

Chords

2011 Rowy

Tetrads in Major

- 7 -


15/22

bbb 1wccCmmin 7

abcd

7aeol

2w

min maj 7Cm

7harmmaj7

3wII

maj 7IID

7n

maj7

4

hf dim 7

Dm Dm

75

5wII

min 7IIDm

7dm

6wII

hd dim 7D

75

7w

maj 7E

7aeolmaj7

bbb 8w

aug 7E

7harmmaj7

9wIII

dom 7IIIE

7n

10wIII

aug dom 7

IIIE

7n

11wmin 7

Fm

12wIV

dom 7IVF

7dm

13wIV

maj 7IVF

7dmmaj7

14wIV

db dim 7F

73

15wdim 7

IVF

bbb 16nIV

hf dim 7Fm Fm

75

17w

min 7Gm 7aeol

18n dom 7G 7harm

19wmin maj 7

VGm

maj7

20wV

maj 7G

maj7

21b VV

Gmhf dim 7Gm7n

75

22wVVGhd dim 7

7n

75

23w

maj 7A

maj7

bbb 24VI

hf dim 7VIAm Am

7dm

75

25wVI

min 7VIAm

7dm

26wdom 7

B

7aeol

27

dim 7

B

7harm

28wVII

maj 7VIIB

7dm

maj7

29

VIIVIIBmhf dim 7 Bm

7dm

75

30wVII

db dim 7VIIB

7n73

Chords

2011 Rowy

Tetrads in Minor

- 8 -


16/22

bbb 1wccCmmin 7

abcd

7aeol

2w

min maj 7Cm

7harmmaj7

3wII

maj 7IID

7n

maj7

4

hf dim 7

IIDm Dm

75

5wII

min 7IIDm

7dm

6wII

hd dim 7D

75

7w

maj 7E

7aeolmaj7

bbb 8w

aug 7E

7harmmaj7

9wIII

dom 7IIIE

7n

10wIIIaug dom 7

IIIE

7n

11wmin 7

Fm

12wIV

dom 7IVF

7dm

13wIV

maj 7IVF

7dmmaj7

14wIV

db dim 7F

73

15wdim 7

IVF

16we

Emmin 7e

abcd

7aeol

17wmin maj 7IEmI

7harmmaj7

18wII

maj 7IIF

7n

maj7

19

hf dim 7

Fm Fm

75

20wII

min 7IIFm

7dm

21wII

hd dim 7F

75

22w

maj 7G

7aeol

maj7

23w

aug 7G 7harmmaj7

24wIII

dom 7IIIG

7n

25wIIIaug dom 7

IIIG

7n

26wmin 7

Am

27wIV

dom 7IVA

7dm

28wIV

maj 7IVA

7dmmaj7

7

29w IV

db dim 7B

73

30wdim 7

IVB

Chords

2011 Rowy

Tetrads in Minor

- 9 -


17/22

1w

maj.9Ca.b.c.d.

maj

2wIICmaj. 7)min.9

9n

maj79

3wmin.9

Dm

4wIIIEmmin.maj. 7)min.9

maj79

5wIVIVmin.maj.9Fm

9mdmaj9

6wV

dom.9G

7V

aug.dom.9G G

95

8wV

aug.9Gmaj9

9wVVGhd.dim.9

9n

95

10wVIVImaj. 7)aug.9A

9md

maj79

11

V

Bhf.dim. 7)min.9Bm

79 759

12

VIIVIIBdim. 7)min.9

9md79

bbb 13wmin.9

c

Cma.b.c.d.

14

n Cmmin.maj.9

maj9

9harm.

15whf.dim. 7)min.9

Dm

759

16wIIIIIIdom.9E

9n

17wIV

dom.9IVF

9dm

18wIV

db.dim. 7)min.9F

739

bbb 19wIV

dim. 7)min.9F

79

20n VGV

dom. 7)min.9

V 9harm.

79

21wVGhf.dim.9

22wVVGhd.dim. 7)min.9

9n

759

23wmaj.9

V

A

24

VII

min.maj.9Bmmaj9

Chords

2011 Rowy

Pentads

- 10 -


18/22

1w

Cmaj

abdc

2w

C/Emaj 6

6

3w

C/Gmaj 4/6

64

4wIIIIDdim

md5

5wIIIID/Fdim 6

66md

6

II

dim 4/6IID/A

II4 64im6md4

7wIIEdb dim

3

8

IIEaug 6II II

6

3/FIt 6 It 6

9wIIEdb dim 4/6

643 /A

10

b IIIIDmaj

IIn 5

11b

IIIID/Fmaj 6

II 66n

12b IIII

maj 4/6D/AII4 64aj6n4

bbb 13wc

minCmab

dc

14w

min 6Cm/E6

15w

min 4/6Cm/G64

16w

Ddim

17w

D/Fdim 6

6

18w

dim 4/6D/A64

bbb 19whd dim

IID

hd dim

20w IIDhd dim 6

6

/F

21w II

aug 4/6D 64

5/A

22wDmaj

IIII n

23wIIIID/Fmaj 6

66n

24wIIIID/Amaj 4/6

646n4

Chords

2011 Rowy

Triad Inversions

- 11 -


19/22

1w

maj 7Cabdc

maj 7

7

2w

maj 5 6Cmaj 7E

65

3ww

maj 3 4Cmaj 7G

43

4

maj 2C

maj 7B2 42

5wIIIIhf dim 7D

md7

77

6

b IIIIDhf dim 5 6Fm6F

65md65 hf dim

7wwIIDhf dim 3 4II 7A

43md43

8wIIDII

hf dim 27C

2md642

9wEII

db dim 773

7

10

IIEaug 5 6II II73Gr Gr 6

65

F6

11wwEII

db dim 3 473

43

A

12wdb dim 2

IIE C3

2

13wV

dom 7G7

7

14wwV

dom 5 6G7B65

15wwV

dom 3 4G7D43

16

V

dom 2G7F2

bbb 17wc

min 7Cmc

abdc

7

77aeol

18

min 5 6Cm E6E

656aeol5

19ww

min 3 4Cm G

434aeol3

20w

min 2Cm B

22aeol

21wEaug 7

7

77harm

22ww

Eaug 5 6G6harm5

6

23ww

Eaug 3 47B43ug4harm3

24w

Eaug 27 D

6422harm

bbb 25wII

hd dim 7D hd dim

26wIIDhd dim 5 6 F

65

27

IIDaug 3 4

II II5AFr

7Fr 6

6436

28whd dim 2

IID 5C

42

29

dim 7BV V

7

7

30wV

dim 5 6B7D

657

31wwV

dim 3 4B7F

43

32wV

Bverm 27A

2

Chords

2011 Rowy

Tetrad Inversions

- 12 -


20/22

1V

maj. maj.6

C G/B6

Suspensions

a.b.d.c.

sus2

2

C

maj. maj.

Cus2

3

V

Cmaj. Cinc.dom.5/6

Gus465

/Bno5

4

C

maj. maj.C

sus4

bbb 5VcV

min. G/Bmaj.6

C6harm.

sus2a.b.c.d.

6

VCmin. Dinc.dom.2

/Cus2 7no5V

7

V

Cmin. Fm/Cmin.4/6

64sus4

8

V

min.

V

G Gdom.5/6

565harm. 7/Bsus4 /C

9Cmaj. G/Bmaj.6

V

Anticipations


21/22

bb bbb bbbbb bbb 1wIIIIEaug.5/6

3Gr.665

Ca.b.c.d. /F

2w

Fdom.7

7

7B

Enharmonically equal - examples3ww

IIDIIaug.3/4

5643c Fr.6/A

4wVAVhd.dim.7

D7n7 5D5

5wIIFmaj.

E

6wIImaj.FII

nee

b bb bb 7w

Cdim.7

d 7a.b.c.d.

7harm.d 7 of D

16 enharmonically equal dim. 7th chords8w

VIIVIIdim.7

D >

7md7

D

9wIVIVdim.7

g 7g 7dm

10wII

dim.7

B 7

11w

dim.5/6

b 656harm.5

bbbb12wVIIVIIdim.5/6

B 6B 6md5

13wIVIVdim.5/6

e 65dim.e 6dm5

14wII

dim.5/6

G 65dim.

15ww

dim.3/4

g 434harm.3

16wwVIIVIIdim.3/4

A 434md3

bbbb b bbbbb bbbbb17wwIVIVdim.3/4

c 643 4dm3

18wwII

dim.3/4

E 643

19ww

dim.2

f 22harm.f

20wwVIIVIIdim.2

F 2im.2mdF

21wwIVIVdim.2

b 642b 2dm

22ww

dim.2

D 642

Chords

2011 Rowy

Enharmonization and Interpretation

- 14 -


22/22

? bbbbbb

1

CIC

IVFm

md

2

IC/G

VG

64

3wwIC

4

CIC =cIV

IVFm

md

5

b ICm/G VG

64

6wwcICm

7

cICm

IVFm

? bbbbbbnnnnnn

8

n

Cm/GI V

G64

9wwIC

Pic 3rd

10

CIC

IVF

11

b IVA/G

VG G

suspension

7mdsus4

12wwIC

13

CIC

IVF

14

b IV

A/GVG

susp

7mdsus4

?15

VIIA/A

VG

susp

2md 7

16 n IV

FIVF

susp

7 7maj7o3add4

17

II=aIVDm IVF/E7

7 7

18

IAm/E VE64

19wwaIAm?

20

b

CIC

IID

2n

maj7/C

21

b II

DVG/D

7n 43maj7

22wwIC

23ww

CIC

24 b

IVFm

IID

md n

25ww V

G GV

susp

43no5/Dus47

26wwIC

ChordsHarmonic Analysis

- 15 -

rowy chords version 4 2013

Documents