Justin Morell

Theory III

How to read lead-sheet chord symbols

Lead-sheet chord symbols do not only provide the performer with information about what to include in the
chord. They also give information on the function, the tonal context, and the related scale tones necessary
for improvisation and voice-leading. Following is a step-by-step system for how to construct chord symbols.
Step one is the triad quality. Note that it is even possible to indicate incomplete chords with labels such as
"no 3rd" or "5":

C C mi C – Cº C dim C aug C + C (no3rd)

& www b www b b www # www ww

The next step is to add a seventh, if needed. Here are examples of the common possibilities. Note that there
are multiple ways to show the same chord type. The safest bet is to use the abbreviations "maj" or "min". In
any case, avoid using "M" for major and "m" for minor:

C maj7 C ma7 C! C7 C min(ma7) C –(ma7)

www b www
& w w b n wwww

C mi7 C –7 Cø C mi7(b 5) C º7 C dim7

& b b wwww b b b wwww b b ! wwww

Next, if you have upper extensions (9th, 11th, 13th) indicate that in place of the "7". Note that the information
preceding the extension provides the same chord quality information as the 7th chord examples above (i.e. "maj9"
is a major 7th chord with a 9th added; "ø9" is a half-diminished chord with a 9th added). When indicating an upper
extension, it is assumed that a) all odd-numbered scale degrees are included from the root up to the indicated
extension, and b) all extensions are built from members of the major scale of the chord root unless otherwise
indicated (for example, a Cmi13 chord includes an A-natural, not an A-flat). Finally, note that non-essential tones
may be omitted from the voicing:

www ww
(a likely voicing with

b wwww
C maj9 C ! 9 C 13 C min11 C ø9
ww w
5th and 11th omitted)

& www b ww bw b b b wwww

ww ww b ww
 How to read lead-sheet chord symbols—page 2

Finally, you can indicate alterations of chord tones with " #/+" or " b/-". The important concept here is that once
you alter a chord tone, your performer will assume the opposite alteration of that chord tone is also true. For
example, if you indicate " b5" in a chord, " #5" is likewise assumed in the sound or scale for that chord. If you
wanted to indicate a " b5" without a " #5", you would use " #11"—the enharmonic equivalent of " b5". In this case,
your performer will assume a "n5":

#
C 7(b 9) C 7(# 11) C 7(# 4) C ma7(# 5) C 7( -95 )
& b b wwwww b bn www b # b wwww
C 7(+9)
# b wwww # wwww w w

A few idiosyncracies:
a) inversions are represented with the chord symbol and a slash to indicate the bass note
b) a non-chord-tone can also be used as a bass note, indicated under a slash
c) a "sus" chord replaces the 3rd with a 4th
d) a 7th (or extended) chord can also have a "sus" replacement of the 3rd
e) a "sus2" replaces the 3rd with a 2nd (sometimes called "sus9")
f) a horizontal slash indicates two simultaneous complete chords
g) the "6" is sometimes added as a color tone, though in common-practice harmony we would think of this
as an inverted chord. It is best to label this chord according to its function.

a)
A b!/C b)
G b/C c) d)

b b b www
C sus C sus4 C 7sus
& b b wwww www b www
w w
F #mi
# # wwww
f) g) h)
e)
C sus2 C6 A mi7/C C mi6 A ø/C
wwww b wwww
C
& www ww

This is not an exhaustive list of all the chord possibilities, but you may use it as a systematic guideline to
determine the best symbol for most lead sheet chords you might need to label/identify. A survey of some
jazz theory texts may give you variations on some of these symbols. Your primary goal is to give your
performers the most complete information in the most clear and concise way possible. . . of course!