Jazz Chord By Mark Taylor, Emperor Waltz Options

[binkyhk]

what does these chords mean?

Cma7
Fma7/C
F6/C
C#o7
Dmi7
Fma7
F#mi7(b5)
G7sus
C6 =CEGA
C6/9
Cma7/B
Bb7
A+7
Bmi7(b5)

Thanks

[nickjones8]

what does these chords mean?

Cma7
Fma7/C
F6/C
C#o7
Dmi7
Fma7
F#mi7(b5)
G7sus
C6 =CEGA
C6/9
Cma7/B
Bb7
A+7
Bmi7(b5)

Thanks

These are not entirely standard abbreviations, but close enough.

Cma7 = C major 7th
Fma7/C = F major7rh with C in the bass (e.g. 2nd inversion)
F6/C = F major added 6th, with C in the bass
C#o7 - C# diminshed 7th
Dmi7 = D minor 7th
Fma7
F#mi7(b5) = F# minor 7th with a flatted 5th
G7sus
C6 =CEGA
C6/9 = ?? I would guess C major added 6th with a D in the bass
Cma7/B
Bb7
A+7 = A augmented 7th
Bmi7(b5)

etc etc - from these clues you should be able to work out the rest! If you are asking how to spell these chords (which notes they contain) then it's probably more useful to work them out 9or consult a good boo on harmony) than to be told, since you do need to understand chord structure. Also, on piano, I would guess that you would want to voice the chords (choose which notes of the chord to play, and in which position) depending on how you wanted to move from one chord to another, and the overall effect that you wanted.

Also, I'm lazy!

[binkyhk]

what does these chords mean?

Cma7
Fma7/C
F6/C
C#o7
Dmi7
Fma7
F#mi7(b5)
G7sus
C6 =CEGA
C6/9
Cma7/B
Bb7
A+7
Bmi7(b5)

Thanks

These are not entirely standard abbreviations, but close enough.

Cma7 = C major 7th
Fma7/C = F major7rh with C in the bass (e.g. 2nd inversion)
F6/C = F major added 6th, with C in the bass
C#o7 - C# diminshed 7th
Dmi7 = D minor 7th
Fma7
F#mi7(b5) = F# minor 7th with a flatted 5th
G7sus
C6 =CEGA
C6/9 = ?? I would guess C major added 6th with a D in the bass
Cma7/B
Bb7
A+7 = A augmented 7th
Bmi7(b5)

etc etc - from these clues you should be able to work out the rest! If you are asking how to spell these chords (which notes they contain) then it's probably more useful to work them out 9or consult a good boo on harmony) than to be told, since you do need to understand chord structure. Also, on piano, I would guess that you would want to voice the chords (choose which notes of the chord to play, and in which position) depending on how you wanted to move from one chord to another, and the overall effect that you wanted.

Also, I'm lazy!

Cma7 = C major 7th (CEGA)
Fma7/C = F major7rh with C in the bass (e.g. 2nd inversion) (CFACE)
F6/C = F major added 6th, with C in the bass (CFACD)
C#o7 - C# diminshed 7th (C# E G Bb)
Dmi7 = D minor 7th (D F A C)
Fma7 (FACE)
F#mi7(b5) = F# minor 7th with a flatted 5th (F# A Cnatural E#)
G7sus ??
C6 =CEGA
C6/9 = ?? I would guess C major added 6th with a D in the bass (DCEGA)
Cma7/B (B CEGA)
Bb7 (Bb D F A)
A+7 = A augmented 7th (which i think may be a augmented minor: ACE#Gb)
Bmi7(b5) (BDFbA)?

so how to you know whether's a minor or major chord (based on the tonality: Cmajor, so F G are major chords)??

just wanna check...not really good though..i know (IMG:style_emoticons/default/sad.gif) (IMG:style_emoticons/default/sad.gif)

[saxophile]

There's a good article on Wikipedia about chord notation which may help - see:

http://en.wikipedia.org/wiki/Chord_notation

It lists most of the usual abbreviations, and explains how to work out what notes should be included.

[nickjones8]

Cma7 = C major 7th (CEGA)
Fma7/C = F major7rh with C in the bass (e.g. 2nd inversion) (CFACE)
F6/C = F major added 6th, with C in the bass (CFACD)
C#o7 - C# diminshed 7th (C# E G Bb)
Dmi7 = D minor 7th (D F A C)
Fma7 (FACE)
F#mi7(b5) = F# minor 7th with a flatted 5th (F# A Cnatural E#)
G7sus ??
C6 =CEGA
C6/9 = ?? I would guess C major added 6th with a D in the bass (DCEGA)
Cma7/B (B CEGA)
Bb7 (Bb D F A)
A+7 = A augmented 7th (which i think may be a augmented minor: ACE#Gb)
Bmi7(b5) (BDFbA)?

so how to you know whether's a minor or major chord (based on the tonality: Cmajor, so F G are major chords)??

just wanna check...not really good though..i know (IMG:style_emoticons/default/sad.gif) (IMG:style_emoticons/default/sad.gif)

Close, not entirely correct: e.g. the major 7th of C is B; a '7' on it's own usually means 'dominant 7', that is, a flattened 7th, so Bb7 is Bb D F Ab; A+7 is not clear to me ... you may be right; Bmi7(b5) is Bb Db Fb Ab (or 'Bb half-diminished'); G7sus probably means 'suspended 4th' so G B C D F.

I'm not quite sure what you're asking in your final question...?

[TSax]

Cma7 = C major 7th (CEGA)
Fma7/C = F major7rh with C in the bass (e.g. 2nd inversion) (CFACE)
F6/C = F major added 6th, with C in the bass (CFACD)
C#o7 - C# diminshed 7th (C# E G Bb)
Dmi7 = D minor 7th (D F A C)
Fma7 (FACE)
F#mi7(b5) = F# minor 7th with a flatted 5th (F# A Cnatural E#)
G7sus ??
C6 =CEGA
C6/9 = ?? I would guess C major added 6th with a D in the bass (DCEGA)
Cma7/B (B CEGA)
Bb7 (Bb D F A)
A+7 = A augmented 7th (which i think may be a augmented minor: ACE#Gb)
Bmi7(b5) (BDFbA)?

so how to you know whether's a minor or major chord (based on the tonality: Cmajor, so F G are major chords)??

just wanna check...not really good though..i know (IMG:style_emoticons/default/sad.gif) (IMG:style_emoticons/default/sad.gif)

Close, not entirely correct: e.g. the major 7th of C is B; a '7' on it's own usually means 'dominant 7', that is, a flattened 7th, so Bb7 is Bb D F Ab; A+7 is not clear to me ... you may be right; Bmi7(b5) is Bb Db Fb Ab (or 'Bb half-diminished'); G7sus probably means 'suspended 4th' so G B C D F.

I'm not quite sure what you're asking in your final question...?

G7 sus is G, C, D, F - i.e the 3rd is replaced by a suspended 4th

The A+7 has a sharp 5 - A, C#, E#, G - if you see the + sign think whole tone scale.

A minor chord will have something to indicate it's minor - a small "m", "min" or "-" otherwise it's a major chord i.e. it has a major 3rd. The 7th of a chord is a flattened 7th unless indicated otherwise e.g. Fmaj7 or F(triangle)7 would have a major 7 as would Fmin(maj7), but F7 has the flat 7th

[AndyL]

I agree with TSax.

A couple things that no one has pointed out yet - "C6/9" just means a C major chord with an added sixth and ninth (not in the bass), ie C E G A D; an F#m7b5 should have an E natural, not an E sharp; a Cmaj7/B doesn't have an A in it; and Bm7b5 has an F natural, not an F flat.

[nickjones8]

I agree with TSax.

A couple things that no one has pointed out yet - "C6/9" just means a C major chord with an added sixth and ninth (not in the bass), ie C E G A D; an F#m7b5 should have an E natural, not an E sharp; a Cmaj7/B doesn't have an A in it; and Bm7b5 has an F natural, not an F flat.

Mea culpa. Should have taken more time on my reply! Though I'm surprised by the C6/9 ...

[TSax]

[quote name='nickjones8' date='Oct 7 2009, 10:56 PM' post='881949']
[quote name='AndyL' post='881813' date='Oct 7 2009, 07:58 PM']

Mea culpa. Should have taken more time on my reply! Though I'm surprised by the C6/9 ...
[/quote]

I think it might be the way it's written. As posted it does look as though it's a slash chord, though I think if that's what it meant it would be written as C6/D. I suspect on the chart it's more obvious that it's not, with the 9 as a superscript.

[nickjones8]

[quote name='TSax' date='Oct 8 2009, 07:09 AM' post='881973']
[quote name='nickjones8' date='Oct 7 2009, 10:56 PM' post='881949']
[quote name='AndyL' post='881813' date='Oct 7 2009, 07:58 PM']

Mea culpa. Should have taken more time on my reply! Though I'm surprised by the C6/9 ...
[/quote]

I think it might be the way it's written. As posted it does look as though it's a slash chord, though I think if that's what it meant it would be written as C6/D. I suspect on the chart it's more obvious that it's not, with the 9 as a superscript.
[/quote]

Yes, that would make sense. I was trying to think what I would expect to see.

[AndyL]

Yeah, I can see why you might think it would mean C6/D. I think this is really the only time a slash is ever used in chord notation to signify something other that a bass note (although for bass notes it should always be a letter, not a number). Usually in proper books the six is above the nine to make it clear, with no ambiguity, but in plain text we can't do this, obviously.

[Violinia]

Yeah, I can see why you might think it would mean C6/D. I think this is really the only time a slash is ever used in chord notation to signify something other that a bass note (although for bass notes it should always be a letter, not a number). Usually in proper books the six is above the nine to make it clear, with no ambiguity, but in plain text we can't do this, obviously.

When a chord has 9 after it, the seventh has to be there too. Otherwise it's just called C plus D. All of these numbers: 9, 11, 13 - imply the presence of the 7th as well. Without the 7th you'd have C plus D, C suspended, C6. C11 can also be called C7sus.

[AndyL]

When a chord has 9 after it, the seventh has to be there too.

Usually, but not in a 6/9 chord. C6/9 really means "C6 add 9". If it had a 7th it would be written as C13 (or Cmaj13, depending on what kind of seventh you have).

[TSax]

Yeah, I can see why you might think it would mean C6/D. I think this is really the only time a slash is ever used in chord notation to signify something other that a bass note (although for bass notes it should always be a letter, not a number). Usually in proper books the six is above the nine to make it clear, with no ambiguity, but in plain text we can't do this, obviously.

When a chord has 9 after it, the seventh has to be there too. Otherwise it's just called C plus D. All of these numbers: 9, 11, 13 - imply the presence of the 7th as well. Without the 7th you'd have C plus D, C suspended, C6. C11 can also be called C7sus.

Doesn't C11 have the 3rd, whereas C7sus doesn't?