Why there are so many systems
The same chord can be written in different ways depending on the tradition: Anglo-Saxon symbols (pop and jazz lead sheets), Italian symbols (songbooks, translated Real Books), Roman numerals and figures (classical analysis), the Nashville Number System (recording studios). A producer must be able to read them all and know where they are ambiguous.
Equivalence table (C)
| Chord | Most common English symbols | Traditional Italian symbol (solfège note names) |
|---|---|---|
| Major | C, CM, Cmaj | Do |
| Minor | Cm, Cmin, C- | Do-, Dom |
| Diminished | C°, Cdim | Do dim, Do° |
| Augmented | C+, Caug, C(#5) | Do aum, Do5+ |
| Suspended | Csus4 (Csus), Csus2 | Do4, Do sus4 |
| Power chord | C5 | Do5 |
| Dominant seventh | C7 | Do7 |
| Major seventh | Cmaj7, CM7, CΔ7, CΔ | Do7+, Do maj7 |
| Minor seventh | Cm7, C-7, Cmin7 | Do-7, Dom7 |
| Half-diminished | Cm7b5, Cø7, Cø | Do-7/5b, Do ø |
| Diminished 7 | C°7, Cdim7 | Do dim7 |
| Minor 7 major | Cm(maj7), CmΔ7, C-Δ7 | Do-7+ |
| Sixth | C6, Cm6 | Do6, Do-6 |
| Added ninth | Cadd9, C(add2), C2 | Do add9 |
| Sixth-ninth | C6/9, C69 | Do6/9 |
| Inversion | C/E | Do/Mi |
In the Italian system “7+” means major seventh: in Anglo-Saxon jazz “C7+” can instead mean C7#5. It is the most dangerous ambiguity: always clarify with the musician.
Rules for reading symbols
- A single letter = major triad. The “m” (or “-”) concerns only the third.
- The number 7 alone always indicates the minor seventh (C7 = dominant). The major seventh is written explicitly (maj7, Δ).
- 9, 11, 13 imply the seventh: C9 = C7 + 9; C13 = C7 + 9 + 13 (the 11 is usually omitted because it clashes with the 3rd). Without the seventh, write add.
- Alterations in parentheses are added to the chord: C7(b9), C7(#11). “alt” = altered dominant, the choice of alterations left to the player.
- sus without a number = sus4. C5 = only root and fifth.
- N.C. = no chord (break).
- Slash chord C/E = C with E in the bass (inversion); D/C = D triad over a C bass (a C7#11 without the 7th, or a D7 in third inversion depending on the context).
- Polychord (written with a horizontal line, D over C): two complete chords stacked; Stravinsky, Petrushka (C + F#), and jazz upper structures.
Other systems
- German: H = B natural, B = Bb. A German score with “B7” indicates Bb7.
- Nashville Number System: 1 4 5 6- instead of C F G Am, independent of the key; “1/3” = inversion, a diamond indicates a held chord, an underline indicates several chords in the same bar. Very useful in sessions where the singer changes key at the last minute.
- Roman numerals: for functional analysis (see the dedicated card).
- Figured bass: numbers under the bass, without indicating the root (see Figures).
Examples in real songs
- Real Book, “Autumn Leaves” (in G minor): Cm7 F7 Bbmaj7 Ebmaj7 Aø7 D7 Gm. The same symbols in an Italian songbook: Do-7 Fa7 Sib7+ Mib7+ La-7/5b Re7 Sol-.
- “Hey Jude” (The Beatles) in Italian songbooks: Fa – Do – Do7 – Fa etc. (in English F C C7 F).
- “Get Lucky” (Daft Punk): Bm7 – D – F#m7 – E, in Nashville (key of D): 6-7 1 3-7 2.
Exercise
- Translate the progression of one of your songs into Italian symbols and into Nashville numbers.
- Take a jazz lead sheet and find three chords where the Italian and English symbols could create misunderstandings (7+, Δ, sus).
- In FL Studio use the Piano roll's “Chord” tool to insert Cm9, C7#9 and C6/9 and check the notes it generates.
Related topics
Roman numerals in analysis; Figures; Seventh chords: catalog; Ninth chords; Sus, add, slash and hybrid chords.