Chord symbols (for example, Cmaj7 or G6) are a type of notation used frequently in jazz and other areas of modern music to notate chord progressions and changes. This type of notation differs from that of classical music in that chord symbols don’t show the function of a chord the way the Roman numeral notation does. Chord symbols, for modern music with lots of changes, are much easier to read. They function as a sort of shorthand for change-heavy music and are written with four chord parts in mind: the root, the quality, the extension, and the alterations. The first part in chord symbols, the root, tells the musician which note is the root of the chord. In an E6 chord, for instance, the E serves as the root. Chord symbols also allow for inverted chords, or chords with a root other than the bass note. These chord symbols express that by showing the bass note with a diagonal slash under the original symbol. Quality, the second part in chord symbols, denotes whether the chord is major, minor, diminished, or augmented. In a Cmaj7, the maj tells us that the C chord is major. The abbreviations for this area in chord symbols are maj, min, dim, and aug, respectively. The extension in chord symbols, written after the quality, shows the musician if the chord differs from a triad (a third chord), such as an eleventh or seventh. This part of chord symbols is not always shown; if there is no indication of an extension, the musician is to assume that the chord is a triad. The last part in chord symbols, the alteration, is usually but not always expressed. Think of this part as the “notes” section in chord symbols; it gives the musician any specific (and sometimes irregular) instructions for playing the chord and is always written in parentheses after the extension (or the quality, if no extension exists). For instance, (no fifth) would tell the musician that the chord is to be played with the fifth tone left out. Sus – short for “suspension”, would mean to play the 4th scale note instead of the 3rd. A minus sign would mean to lower (flat) a chord tone, such as C-9 which would mean to flat the 9th of the chord. Conversely, a plus sign would mean to raise (sharp) a particular chord tone. Reading music using chord symbols allows a person to use written music as a map, rather than a note-for-note approach. By just reading the melody note and the chord symbols, musicians can improvise to their hearts content and create their own sounds on the keyboard. The best of all worlds, however, is to be able to read music as it is written in a sheet music score, but also be able to read the chord symbols. Then the musician is free to choose which is best – the written part, or an improvised part. The sky is the limit for musicians who can do both.  Chord symbols & reading the melody in sheet music

Chord symbols (for example, Cmaj7 or G6) are a type of notation used frequently in jazz and other areas of modern music to notate chord progressions and changes. This type of notation differs from that of classical music in that chord symbols don’t show the function of a chord the way the Roman numeral notation does. Chord symbols, for modern music with lots of changes, are much easier to read. They function as a sort of shorthand for change-heavy music and are written with four chord parts in mind: the root, the quality, the extension, and the alterations. The first part in chord symbols, the root, tells the musician which note is the root of the chord. In an E6 chord, for instance, the E serves as the root. Chord symbols also allow for inverted chords, or chords with a root other than the bass note. These chord symbols express that by showing the bass note with a diagonal slash under the original symbol. Quality, the second part in chord symbols, denotes whether the chord is major, minor, diminished, or augmented. In a Cmaj7, the maj tells us that the C chord is major. The abbreviations for this area in chord symbols are maj, min, dim, and aug, respectively. The extension in chord symbols, written after the quality, shows the musician if the chord differs from a triad (a third chord), such as an eleventh or seventh. This part of chord symbols is not always shown; if there is no indication of an extension, the musician is to assume that the chord is a triad. The last part in chord symbols, the alteration, is usually but not always expressed. Think of this part as the “notes” section in chord symbols; it gives the musician any specific (and sometimes irregular) instructions for playing the chord and is always written in parentheses after the extension (or the quality, if no extension exists). For instance, (no fifth) would tell the musician that the chord is to be played with the fifth tone left out. Sus – short for “suspension”, would mean to play the 4th scale note instead of the 3rd. A minus sign would mean to lower (flat) a chord tone, such as C-9 which would mean to flat the 9th of the chord. Conversely, a plus sign would mean to raise (sharp) a particular chord tone. Reading music using chord symbols allows a person to use written music as a map, rather than a note-for-note approach. By just reading the melody note and the chord symbols, musicians can improvise to their hearts content and create their own sounds on the keyboard. The best of all worlds, however, is to be able to read music as it is written in a sheet music score, but also be able to read the chord symbols. Then the musician is free to choose which is best – the written part, or an improvised part. The sky is the limit for musicians who can do both. For a course on playing piano using chord symbols, take a look at “How To PLAY More Notes Without READING More Notes”

Even many musicians haven’t heard of figured bass. Also called basso continuo, a simple explanation of the term is a short way to note chords on a musical score. If you have never heard of it, it’s most likely because the method isn’t used today. However, it could be considered akin to, or a precursor of, a modern chord chart. Figured bass originated in the Baroque era of the17th and 18th century. Music has evolved over the centuries and still does today. The development of figured bass came in response to one of these early musical style evolutions. The Baroque music period came on the heels of the Renaissance period. Music from the Renaissance was generally characterized by its reliance upon intervals of thirds. Of course, musical trends evolve over a period of time. For this reason, it’s difficult to pinpoint an exact year when this trend shifted. Usually a new musical era is well under way before anyone realizes there has been a change. Modal characteristics of Renaissance music eventually gave way to more tonal music. The defining characteristic of tonal music is its use of fifths. This is in contrast to the previous intervals of thirds. This led the way for Baroque style music. Composers and musicians in this period began using more elaborate instrumentation during the Baroque period. New musical instruments were being developed that contributed to the trend. Many of them had wider range capabilities, allowing for more variety in musical scores. New playing techniques were also developed, lending a distinction to music of this period such as had not previously been heard. The more complex nature of Baroque music made a new form of musical notation a necessity. This is how figured bass was born. Playing music by reading figured bass required more than rudimentary musical skills. With this method, the melody line and the bass line are noted on a traditional musical scale (bass clef and treble clef). The instrumentalist(s) would fill in the harmony lines based on the bass note. The harmony part, or the part that was implied but not written in the score, was known as the continuo. To play figured bass, it is necessary to have a working understanding of chords. An instrumentalist reading a score with figured bass would see the melody notes and the bass notes. The instrumentalist would assume that the continuo notes that would accompany would be a standard fifth interval unless otherwise noted. If another variation was desired, numbers would appear on the score underneath the bass note indicating the appropriate interval. Like many trends, the use of the figured bass method became obsolete. Today, chords are often indicated by abbreviating their names (i.e.,”C7″ for a C major/minor seventh chord). Similar to figured bass, instrumentalists have some leeway for improvisation with this type of musical annotation. This is in contrast to music that has every note for each part annotated on a musical staff. Like shorthand once was to writing, so was figured bass to music. And like shorthand, changes in technology and trends have greatly diminished the use of figured bass.