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Chord names and symbols (popular music) (chords with three notes) involving minor or major thirds and perfect, augmented, or diminished fifths. However, conventionally only four are used (major, minor, augmented and diminished). There is nothing to stop a composer using the other two, but the question of what to call them is interesting. A minor third with an augmented fifth might be denoted, for example, by Am+, which will strike most musicians as odd. In fact, this turns out to be the same as F/A (see slash chords below). A major third with a diminished fifth might be shown as A(5). Usually, when composers require a chord that is not easily described using this notation, they will indicate the required chord in a footnote or in the header of the music.
Chord quality
Chord qualities are related with the qualities of the component intervals which define the chord (see below). The main chord qualities are: Major, and minor. Augmented, diminished, and half-diminished. Dominant. Some of the symbols used for chord quality are similar to those used for interval quality: m, or min for minor, M, maj, or no symbol (see rule 2 below) for major, aug for augmented, dim for diminished. In addition, however, is sometimes used for major,[4] instead of the standard M, or maj, is sometimes used for minor, instead of the standard m or min, +, or aug, is used for augmented (A is not used), o , , dim, is used for diminished (d is not used), , or is used for half diminished, dom is used for dominant.
Chord qualities are sometimes omitted (see below). When specified, they appear immediately after the root note or, if the root is omitted, at the beginning of the chord name or symbol. For instance, in the symbol Cm7 (C minor seventh chord) C is the root and m is the chord quality. When the terms minor, major, augmented, diminished, or the corresponding symbols do not appear immediately after the root note, or at the beginning of the name or symbol, they should be considered interval qualities, rather than chord qualities. For instance, in Cm/M7 (minor major seventh chord), m is the chord quality and M refers to the M7 interval.
In this case, the quality (minor, in the example) of the additional interval is omitted. Less often, the full name or symbol of the additional interval is provided. For instance, a C augmented major seventh chord is a C augmented
Chord names and symbols (popular music) triad with an extra note defined by a major seventh interval:
C+M7 augmentedchord = C+ augmentedtriad + M7 major interval
In both cases, the quality of the chord is the same as the quality of the basic triad it contains. This is not true for all chord qualities, as the chord qualities "half-diminished", and "dominant" refer not only to the quality of the basic triad, but also to the quality of the additional intervals.
Altered fifths
A more complex approach is sometimes used to name and denote augmented and diminished chords. An augmented triad can be viewed as a major triad in which the perfect fifth interval (spanning 7 semitones) has been substituted with an augmented fifth (8 semitones), and a diminished triad as a minor triad in which the perfect fifth has been substituted with a diminished fifth (6 semitones). In this case, the augmented triad can be named major triad sharp five, or major triad augmented fifth (M5, M+5, majaug5). Similarly, the diminished triad can be named minor triad flat five, or minor triad diminished fifth (m5, m5, mindim5). Again, the terminology and notation used for triads affects the terminology and notation used for larger chords, formed by four or more notes. For instance, the above mentioned C augmented major seventh chord, is sometimes called C major seventh sharp five, or C major seventh augmented fifth. The corresponding symbol is CM7+5, CM75, or Cmaj7aug5:
CM7+5 augmentedchord = C chord root + M3 major interval + A5 augmentedinterval + M7 major interval
(In chord symbols, the symbol A, used for augmented intervals, is typically replaced by + or ) In this case, the chord is viewed as a C major seventh chord (CM7) in which the third note is an augmented fifth from root (G), rather than a perfect fifth from root (G). All chord names and symbols including altered fifths, i.e. augmented (5, +5, aug5) or diminished (5, 5, dim5) fifths can be interpreted in a similar way.
Chord names and symbols (popular music) CM7 = CM/M7). However, this is not always true (e.g. Cm6 = Cm/M6, C+7 = C+/m7, CM11 = CM/P11).[5] See specific rules below for further details. 2. General rule to deduce missing information about chord quality Without contrary information, a major third interval and a perfect fifth interval (major triad) are implied. For instance, a C chord is a C major triad, and the name C minor seventh (Cm7) implies a minor 3rd by rule 1, a perfect 5th by this rule, and a minor 7th by definition (see below). This rule has one exception (see the first specific rule below). 3. Specific rules When the fifth interval is diminished, the third must be minor.[6] This rule overrides rule 2. For instance, Cdim7 implies a diminished 5th by rule 1, a minor 3rd by this rule, and a diminished 7th by definition (see below). Names and symbols which contain only a plain interval number (e.g. Seventh chord) or the chord root and a number (e.g. C seventh, or C7) are interpreted as follows: If the number is 2, 4, 6, etc., the chord is a major added tone chord (e.g. C6 = CM6 = Cadd6) and contains, together with the implied major triad, an extra major 2nd, perfect 4th, or major 6th (see below). If the number is 7, 9, 11, 13, etc., the chord is dominant (e.g. C7 = Cdom7) and contains, together with the implied major triad, one or more of the following extra intervals: minor 7th, major 9th, perfect 11th, and major 13th (see Seventh chords and Extended chords below). For sixth chord names or symbols composed only of root, quality and number (such as "C major sixth", or "CM6"): M, maj, or major stands for major-major (e.g. CM6 means CM/M6), m, min, or minor stands for minor-major (e.g. Cm6 means Cm/M6). For seventh chord names or symbols composed only of root, quality and number (such as "C major seventh", or "CM7"): dom, or dominant stands for major-minor (e.g. Cdom7 means CM/m7), M, maj, or major stands for major-major (e.g. CM7 means CM/M7), m, min, or minor stands for minor-minor (e.g. Cm7 means Cm/m7), +, aug, or augmented stands for augmented-minor (e.g. C+7 means C+/m7), o , dim, or diminished stands for diminished-diminished (e.g. Co7 means Co/o7), , or half-diminished stands for diminished-minor (e.g. C7 means Co/m7).
Other specific rules for extended and added tone chords are given below.
Examples
The table shows the application of these generic and specific rules to interpret some of the main chord symbols. The same rules apply for the analysis of chord names. A limited amount of information is explicitly provided in the chord symbol (boldface font in the column labeled "Component intervals"), and can be interpreted with rule 1. The rest is implied (plain font), and can be deduced by applying the other rules. The "Analysis of symbol parts" is performed by applying rule 1.
Chord Symbol Short C CM Cm C+ Co C6 CM6 Cm6 C7 CM7 Cm7 C+7 Co7 C C7 [7] Cmaj6 Cmin6 Cdom7 Cmaj7 Cmin7 Caug7 Cdim7 [7] [7] Cmaj Cmin Caug Cdim [7] Long
Component intervals
Notes
Chord name
Root Third Fifth Added Third Fifth Added C C C C C C C C C C C C C C C min maj min aug dim dim dim 7 maj7 maj min maj min aug dim 6 6 6 7 7 7 7 7 maj3 maj3 min3 maj3 min3 maj3 maj3 min3 maj3 maj3 min3 maj3 min3 min3 min3 min3 perf5 perf5 perf5 aug5 dim5 perf5 maj6 perf5 maj6 perf5 maj6 perf5 min7 perf5 maj7 perf5 min7 aug5 min7 dim5 dim7 dim5 min7 dim5 min7 perf5 maj7 C-E-G-B Minor-major seventh chord C-E-G-A C-E-G-B C-E-G-B C-E-G-B C-E-G-B C-E-G-B C-E-G-B Minor sixth chord Dominant seventh chord Major seventh chord Minor seventh chord Augmented seventh chord Diminished seventh chord Half-diminished seventh chord C-E-G C-E-G C-E-G C-E-G C-E-G C-E-G-A Minor triad Augmented triad Diminished triad Major sixth chord Major triad
Intervals
A chord consists of two or more notes played simultaneously that are certain intervals apart with respect to the chord root. The following table shows the labels given to these intervals and the respective notes for each of the twelve keys. As explained above, chord notation provides a shorthand for intervals, not actual notes. This table provides a mapping of intervals to actual notes to play.
Chord root F C G D A E B F G Unison Minor second G D A E B F C G A Major second G D A E B F C G A Minor third A E B F C G D A B Major third A E B F C G D A B Perfect fourth B F C G D A E B C Tritone Perfect fifth C G D A E B F C D Minor sixth D A E B F C G D E Major sixth D A E B F C G D E Minor seventh E B F C G D A E F Major seventh E B F C G D A E F
F C G D A E B F G
B / C F / G C / D G / A D / E A / B E / F B / C C/D
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E F B E F B C F G C D F G C D G A D E F /G G/A C /D D/E G /A A/B D /E E / F G A D E A B E F A B E F B C F G A B E F B C F G B C F G C D G A B C F G C D G A
C D G A D E A B
C D G A D E A B
D E A B E F B C
D E A B E F B C
C F G C D
Triads
As earlier suggested, the root written alone indicates a simple major triad. It consists of the root, the major third, and the perfect fifth above the root. Minor triads are the same as major triads, but with the third lowered by a half step. Augmented triads are the same as a major triad, but with an augmented fifth instead of a perfect fifth. Diminished triads are similar to minor triads, but with a diminished fifth instead of a perfect fifth (the minor third is retained). The table below shows names, symbols and definition for the four kinds of triads (using C as root).
Name Short Symbols Long Definitions Altered Component intervals Integers fifth Third Fifth major perfect Notes
Major triad
C CM [7] C [4]
Cmaj
[7]
{0, 4, 7} C-E-G
Minor triad
Cm C
Cmin
minor
perfect
{0, 3, 7} C-E-G
Augmented triad C+ (major triad sharp five) Diminished triad (minor triad flat five) C
Caug
major
Cdim
minor
Seventh chords
A seventh chord is a triad with an added note, which is either a major seventh above the root, a minor seventh above the root (flatted 7th), or a diminished seventh above the root (double flatted 7th). Note that the diminished seventh note is enharmonically equivalent to the major sixth above the root of the chord. When not otherwise specified, the name "seventh chord" may more specifically refer to a major triad with an added minor seventh (a dominant seventh chord). The table below shows names, symbols, and definitions for the various kinds of seventh chords (using C as root).
Name Short
Definitions Component intervals Third Fifth Seventh minor {0, 4, 7, 10} C-E-G-B Integers Notes
C7
Cdom7
major perfect
CM7 CMa7 Cmaj7 C j7 C7 [4] C CmM7 Cm7 CM7 C7 C Cm7 C-7 C+M7 C+ Cminmaj7
major perfect
major
Minor-major seventh
minor perfect
major
Minor seventh
Cmin7
minor perfect
minor
Caugmaj7
Augmented seventh C+7 (dominant seventh sharp five) Half-diminished seventh (minor seventh flat five) Diminished seventh C / C7 C / C7 Co7 C7 C75
Caug7
C-E-G-B
Cdom7dim5
Many possible format variations are possible. The superscripts may be also written as ordinary font, sometimes separated by a slash from the preceding parts of the symbol, or written within parentheses. For instance: CM7 may be written CM7 CmM7 may be written as CmM7, Cm/M7, or Cm(M7). Except for the root, all the other parts of the symbols may be superscripted. For instance: CM7 may be written CM7 CM75 may be written CM75, or CM75. Some 7th chords can be considered as triad chords with alternate bass. Examples: Cm7 = C-E-G-B = E/C Cmaj7 = C-E-G-B = Em/C
Extended chords
Extended chords add further notes onto 7th chords. Of the 7 notes in the major scale, a seventh chord uses only 4. The other 3 notes can be added in any combination; however, just as with the triads and seventh chords, notes are most commonly stacked a seventh implies that there is a fifth and a third and a root. In practice, especially in jazz, certain notes can be omitted without changing the quality of the chord. The 9th, 11th and 13th chords are known as extended tertian chords. As the scale repeats for every seven notes in the scale, these notes are enharmonically equivalent to the 2nd, 4th, and 6th except they are more than an octave above the root. However, this does not mean that they must be played in the higher octave. Although changing the octave of certain notes in a chord (within reason) does change the way the chord sounds, it does not change the essential characteristics or tendency of it. Accordingly, using 9th, 11th and 13th in chord notation implies that the chord is an extended tertian chord rather than an added chord (see Added Chords below).
9ths
9th chords are built by adding to a seventh chord a note which is an interval of a ninth from root. This implies that the 7th note from root is also included in the chord. When the 7th is omitted, the chord cannot be classified as an extended chord, as it becomes an added tone chord. 9ths may be theoretically added to any type of chord, however they are most commonly seen with Major, Dominant and Minor sevenths. The most commonly omitted note for voicings is the perfect 5th. The table below shows names, symbols, and definitions for the various kinds of ninth chords (using C as root)
Name Symbol Short (Major) 9th Dominant 9th Minor Major 9th Minor Dominant 9th Augmented Major 9th Augmented Dominant 9th Half-Diminished 9th CM9 / C9 C9 Long Cmaj9 Cdom9 Quality of added 9th Major Major Notes
C-E-G-B-D C-E-G-B-D C-E-G-B-D C-E-G-B-D C-E-G-B-D C-E-G-B-D C-E-G-B-D C-E-G-B-D C-E-G-B C-E-G-B -D -D
CmM9 / CM9 Cminmaj9 Major Cm9 / C9 C+M9 C+9 / C95 C9 Cmin9 Major
Caugmaj9 Major Caug9 Major Major Minor Cdim9 Cdim9 Major Minor
11ths
These are theoretically 9th chords with the 11th (4th) note in the scale added. However, it is common to leave certain notes out. The major 3rd is often omitted because of a strong dissonance with the 11th (4th), therefore called an avoid note. Omission of the 3rd reduces an 11th chord to the corresponding 9sus4 (suspended 9th chord; Aiken 2004, p.104). Similarly, omission of the 3rd as well as 5th in C11 results in a major chord with alternate base B/C, which is characteristic in soul and gospel music. For instance:
Chord names and symbols (popular music) C11 without 3rd = C-(E)-G-B-D-F C-F-G-B-D = C9sus4 C11 without 3rd and 5th = C-(E)-(G)-B-D-F C-F-B-D = B/C If the 9th is omitted, the chord is no longer an extended chord, but an added tone chord (see below). Without the 3rd, this added tone chord becomes a 7sus4 (suspended 7th chord). For instance: C11 without 9th = C7add11 = C-E-G-B-(D)-F C7add11 without 3rd = C-(E)-G-B-(D)-F C-F-G-B = C7sus4 The table below shows names, symbols, and definitions for the various kinds of eleventh chords (using C as root)
Name Symbol Short 11th (dominant 11th) Major 11th Minor-Major 11th Minor 11th C11 CM11 Long Cdom11 Cmaj11 Quality of added 11th Perfect Notes
C-E-G-B-D-F
Perfect
Augmented-Major 11th C+M11 Augmented 11th Half-Diminished 11th Diminished 11th C+11 / C115 C11 C11
Diminished C-E-G-B
Alterations from the natural diatonic chords can be specified as C911 ... etc. Omission of the 5th in a sharped 11th chord reduces its sound to a flat-five chord. (Aiken 2004, p.94): C911 = C-E-(G)-B-D-F C-E-G-B-D = C95
13ths
These are theoretically 11th chords with the 6th note in the scale added. Again it is common to leave certain notes out. After the 5th, the most commonly omitted note is the troublesome 11th (4th). The 9th (2nd) can also be omitted. A very common voicing on guitar for a 13th chord, for example, is just the root, 7th, 3rd and 13th (6th). For example: C-E-(G)-B-(D)-(F)-A = C-E-A-B-(D)-(F) - on the piano it is usually voiced C-Bb-E-A. The table below shows names, symbols, and definitions for some of thirteenth chords (using C as root)
Name Symbol Short Major 13th Dominant 13th Minor Major 13th Minor Dominant 13th Augmented Major 13th CM13 / C13 C13 Long Cmaj13 Cdom13 Quality of added 13th Major Major Notes
Chord names and symbols (popular music) Alterations from the natural diatonic chords can be specified as C1113 ... etc.
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Suspended Chords
A suspended chord is a triad where the 3rd is replaced by another note. In practice the 3rd is replaced either by the 4th or the 2nd. These chords "desire" to resolve into a normal triad. Suspended chords are notated with the symbols "sus4" or "sus2". Where "sus" is found on its own, the suspended fourth chord is implied. This can be combined with any other notation. So for example: Csus9 This chord is an extended 9th chord with the 3rd replaced by the 4th (C-F-G-B-D). However, the major third can be added as a tension above the 4th to "colorize" the chord (C-F-G-B-D-E). A sus4 chord with the added major third (sometimes called a major 10th) can also be quartally voiced as C-F-B-E.
Power "chords"
Though power chords are not true chords per se, they are still expressed using a version of chord notation. Most commonly, power chords (e.g. C-G-C) are expressed using a "5" (e.g. C5). Power chords are also referred to as fifth chords, indeterminate chords or neutral chords (though the term "neutral chord," when expressed with an n (e.g. Cn), is also used to describe a pair of stacked neutral thirds, e.g. C-E -G, which requires a quarter tone or similarly sized microtone; or the mixed third chord), since they are inherently neither major nor minor; generally, a power chord refers to a specific doubled-root, three-note voicing of a fifth chord. In the event that an extended neutral chord is to be played, e.g. a seventh (C-G-B), the chord is expressed as its corresponding extended chord notation with the addition of the words "no3rd," "no3" or the like. The aforementioned chord, for instance, would be indicated C7no3.
Inversions
In addition to all of the ways of building chords (listed above), a chord may be inverted. Inverting a chord refers to playing a chord, but with a note other than the root as the lowest note of the chord. Take, for example, the C major and the C dominant seventh chords. Refer to the tables below for a list of inversions.
C major chord
Root Position First Inversion Second Inversion Notes C E G E G C C/E G C E C/G
Short notation C
C E G B B C E G C7/B
Short notation C7
The notation C/E indicates a C major chord, but with an E in the bass. Likewise the notation C/G indicates that a C major chord is played with a G in the bass. See figured bass for alternate method of notating specific notes in the bass.
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Hybrid chords
Upper structures
Those are notated in a similar manner to inversions, except that the bass note is not necessarily a chord tone. Examples: C/A (A C E G), equivalent to A75; C/E (E G C F); Am/D (D A C E). Chord notation in jazz usually leaves a certain amount of freedom to the player as for voicing chords, also adding tensions at the player's discretion. Therefore, upper structures are most useful when the composer wishes for a specific tension array to be played. Example: C/E | C/A E/A | D/E G75/A | Eadd 2/D D79/G | Am7/C || produces a certain coloration of the following chord progression: E7 | Am7 A7 | Em7 A7 | D G7 | C || These are also commonly referred as "slash chords." A slash chord is simply a chord placed on top of a different bass note; for example: D/F# is a D chord with F# in the bass; A/C# is an A chord with C# in the bass. Slash chords generally do not indicate a simple inversion (which is usually left to the player's discretion anyway), especially considering that the requested bass note may not be part of the chord to be played on top. The requested bass note may be played instead of or in addition to the chord's usual root note, though the root note, when played, is likely to be played only in a higher octave to avoid "colliding" with the new bass note.
Polychords
Polychords, as the name suggests, are combinations of two or more chords. The most commonly found form of a polychord is a bi-chord (two chords played simultaneously) and is written as follows: (example: (C E G B D F)). In case a very specific voicing is needed, the individual chords can be written in their desired inversions, for example: (C G E G B E).
Other Symbols
The right slash / or diagonal line written above the staff where chord symbols occur is used to indicate a beat during which the most recent chord symbol is understood to continue. It is used to help make uneven harmonic rhythms more readable. For example, if written above a measure of standard time, "C / F G" would mean that the C chord symbol lasts two beats while F and G last one beat each. The slash is separated from the surrounding chord symbols so as not to be confused with the chord-over-a-bass-note notation that also uses a slash. For chord abbreviations, the right slash indicates the bass note if other than the root. It is usually written with the complete chord name, and, after the slash symbol, the desired bass note. For example, the symbol C/G would mean that the chord to play is a C major triad with a G as the bass note, leading to the following notes: G C E (commonly known as the 2nd inversion C major triad). A right slash surrounded by two dots reminiscent of a percent sign % [illustration needed] in an otherwise empty measure indicates that the chord or chords of the previous measure are to be repeated. It can be reused over many consecutive measures. It is used to simplify the job of both the reader (who can quickly scan ahead to the next chord change) and the copyist (who doesn't need to write out the full chord symbols repeatedly).
Chord names and symbols (popular music) The chord notation N.C. is used to indicate no chord is to be played. The duration of this symbol follows the same rules as a regular chord symbol.
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Summary
Since the rules to decode chord notation are complex, a short article would not be sufficient to describe them clearly and exhaustively. As a consequence, this article is relatively long and not easy to decipher at a glance. This section is included as a brief summary of one of the notations described, aimed more at the performer's perspective, rather than that of the composer or theorist. As shown above, the symbol Cminmaj13 indicates a chord whose root is C, with each of the odd-numbered intervals, up to the one indicated (13th in this case) placed above it. Namely, the chord is defined by the following odd-numbered intervals: Minor third (C-E) Perfect fifth (C-G) Major seventh (C-B) Major ninth (C-D) Perfect eleventh (C-F)
Major thirteenth (C-A) Notice that all the intervals are major or perfect, except for the third which is minor, as specified by min in the symbol. By comparing other chord symbols to Cminmaj13, with the following set of rules it is possible to decode several other chord symbols: When the interval name (maj13) is omitted, it is understood to be a 5th, which implies that the chord is a triad. When the interval quality (maj) is omitted, it causes the 7th (if present) to be flattened (from major to minor) When the chord quality (min) is omitted, the 3rd is assumed to be major When the chord quality is min (as in the example above), the 3rd is flattened (from major to minor) When the chord quality is aug, the 5th is sharpened (from perfect to augmented) When the chord quality is dim, each of the intervals is flattened When the chord quality is sus or sus4, the 3rd is sharpened (from major to augmented, equivalent to a perfect 4th) When the chord quality is sus2 the 3rd is double-flattened (from major to diminished, equivalent to a major 2nd)
For instance, Cdim9 indicates a chord whose root is C, with a flattened 3rd, a flattened 5th, a double-flattened 7th (flattened once by the presence of dim, and flattened again by the omission of the maj) and a flattened 9th. When a small even number is used as the main interval: 2 is equivalent to 9, 4 is equivalent to 11, and 6 is equivalent to 13; but with the omission of the 7th, possibly implied in each case; and when the number is explicitly stated as a 5, it implies the omission of the 3rd. In the vast majority of cases, though, none of this complexity is involved. A typical piece of music might stipulate chords like C, F, Amin, and G7, giving (according to the summary above) two major triads, a minor triad, and an extended chord of four notes.
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Notes
[1] [2] [3] [4] Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.78. Seventh Edition. ISBN 978-0-07-294262-0. Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.77. Seventh Edition. ISBN 978-0-07-294262-0. Arnold Schoenberg, Structural Functions of Harmony, Faber and Faber, 1983, p.1-2. The symbol is ambiguous, as it is used by some as a synonym for M (e.g. C=CM and C7=CM7), and by others as a synonym of M7 (e.g. C=CM7). [5] General rule 1 achieves consistency in the interpretation of symbols such as CM7, Cm6, and C+7. Some musicians legitimately prefer to think that, in CM7, M refers to the seventh, rather than to the third. This alternative approach is legitimate, as both the third and seventh are major, yet it is inconsistent, as a similar interpretation is impossible for Cm6 and C+7 (in Cm6, m cannot possibly refer to the sixth, which is major by definition, and in C+7, + cannot refer to the seventh, which is minor). Both approaches reveal only one of the intervals (M3 or M7), and require other rules to complete the task. Whatever is the decoding method, the result is the same (e.g., CM7 is always conventionally decoded as C-E-G-B, implying M3, P5, M7). The advantage of rule 1 is that it has no exceptions, which makes it the simplest possible approach to decode chord quality. According to the two approaches, some may format CM7 as CM7 (general rule 1: M refers to M3), and others as CM7 (alternative approach: M refers to M7). Fortunately, even CM7 becomes compatible with rule 1 if it is considered an abbreviation of CMM7, in which the first M is omitted. The omitted M is the quality of the third, and is deduced according to rule 2 (see above), consistently with the interpretation of the plain symbol C, which by the same rule stands for CM. [6] All triads are tertian chords (chords defined by sequences of thirds), and a major third would produce in this case a non-tertian chord. Namely, the diminished fifth spans 6 semitones from root, thus it may be decomposed into a sequence of two minor thirds, each spanning 3 semitones (m3 + m3), compatible with the definition of tertian chord. If a major third were used (4 semitones), this would entail a sequence containing a major second (M3 + M2 = 4 + 2 semitones = 6 semitones), which would not meet the definition of tertian chord. [7] Rarely used symbol. A shorter symbol exists, and is used more frequently.
References
Aikin, Jim (2004). Chords & Harmony. San Francisco: Backbeat Books. ISBN 0-87930-798-6 Carl Brandt and Clinton Roemer (1976). Standardized Chord Symbol Notation. Roevick Music Co. Cited in Benward & Saker (2003), p.76.
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License
Creative Commons Attribution-Share Alike 3.0 Unported //creativecommons.org/licenses/by-sa/3.0/