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Chord notation

Chord notation, also known as chord symbols or lead-sheet notation, is a symbolic system in music theory used to represent the harmonic structure of chords without requiring full staff notation. Originating from Baroque-era figured bass and evolving in the 20th century through jazz and popular music practices, it specifies the root note, chord quality (such as major, minor, diminished, or augmented), extensions (like sevenths, ninths, or elevenths), alterations to intervals, and any non-root bass note, enabling performers to interpret and realize the harmony flexibly in genres like jazz, popular music, and contemporary composition.^[1] This notation is placed above the staff in lead sheets, providing essential harmonic guidance alongside a melody while omitting details of rhythm, voicing, or exact note arrangement to encourage improvisation and adaptation.^[2] The core of chord notation begins with an uppercase letter denoting the root pitch, such as C for the note C, which by default implies a major triad (C-E-G). Chord quality is modified by suffixes: m, min, or - for minor triads (e.g., Cm for C-E♭-G); °, o, or dim for diminished triads (e.g., C° for C-E♭-G♭); and + or aug for augmented triads (e.g., C+ for C-E-G♯). Seventh chords extend this by adding interval indicators, including 7 for dominant seventh (major triad with minor seventh, e.g., C7 for C-E-G-B♭), m7 for minor seventh (e.g., Cm7 for C-E♭-G-B♭), maj7 or Δ7 for major seventh (e.g., Cmaj7 for C-E-G-B), °7 or dim7 for fully diminished seventh (e.g., C°7 for C-E♭-G♭-B♭♭), and m7♭5 for half-diminished (e.g., Cm7♭5 for C-E♭-G♭-B♭).^[2]^[1] Extensions beyond the seventh, such as ninths (9), elevenths (11), or thirteenths (13), are added to imply a fuller harmonic stack including all intervening intervals (e.g., C13 denotes C-E-G-B♭-D-F-A). Alterations to these extensions use accidentals like ♭ or ♯ (e.g., C7♭9 for C-E-G-B♭-D♭), while inversions are indicated by a slash followed by the bass note (e.g., C/E for a C major triad with E in the bass). This system, influenced by functional harmony and rooted in 20th-century jazz practices, allows for efficient communication of complex progressions and is analyzed by identifying the root through interval stacking and quality via third-to-fifth measurements.^[1]^[3]^[4]

Fundamentals

Purpose and Applications

Chord notation serves as a concise shorthand system for representing musical harmony, employing letters to denote root pitches, numbers for intervals or extensions, and symbols for alterations or qualities. This system allows musicians to quickly identify and construct chords without relying solely on full staff notation, facilitating efficient communication of harmonic structures in various musical contexts.^[5] In classical music, chord notation traces its roots to figured bass, a practice that emerged during the Baroque era (approximately 1600–1750) as a method for keyboardists and continuo players to realize improvised accompaniments based on bass lines and interval indications. This evolved into more analytical tools like Roman numeral analysis for functional harmony in music theory education and composition. In contrast, modern letter-based chord symbols became prominent in the 20th century through the rise of jazz and popular music, originating from the sheet music publishing boom in the first half of the century. Chord symbols first appeared in the mid-1920s with ukulele tablature added to song sheets for amateur players, evolving in the 1930s to include guitar chord indications, with one of the earliest printed uses in Ferde Grofé's 1924 arrangement for Paul Whiteman's band.^[6]^[4] In jazz and pop genres, these symbols underpin lead sheets, enabling improvisational freedom for rhythm section players like pianists and guitarists to interpret and vary voicings during live performances. Additionally, in music theory, chord notation supports harmonic analysis, helping composers and analysts dissect progressions across genres.^[7] The primary benefits of chord notation lie in its efficiency for real-time musical collaboration, allowing performers to read and adapt harmonies swiftly without prior rehearsal, which is essential for improvisation, arrangement, and ensemble work. This streamlined approach enhances accessibility, enabling musicians from diverse backgrounds to share and interpret harmonic ideas universally, from classical realizations to contemporary songwriting.^[8]

Basic Structure of Chord Symbols

Chord symbols in music notation provide a concise way to represent harmony, primarily through three core components: the root note, the quality modifier, and extensions indicated by numbers for intervals above the root. The root note forms the foundation and is denoted by an uppercase letter from A to G, optionally followed by a sharp (♯) or flat (♭) symbol, such as C or F♯.^[1]^[9] The quality modifier specifies the chord's triad type relative to the root; for instance, no modifier implies a major triad, while a lowercase "m" indicates a minor triad.^[1]^[9] Extensions, such as the numeral "7," add notes beyond the basic triad, representing the seventh interval unless otherwise altered.^[1] Standard conventions for these symbols emphasize simplicity and readability in ensemble settings. An uppercase root letter alone denotes a major chord, as in C for a C major triad comprising the notes C, E, and G.^[9] For minor chords, the root is followed immediately by "m," yielding Cm for C minor (C, E♭, G).^[9] Numerical extensions follow the quality modifier, with Arabic numerals indicating scale degrees above the root; for example, C7 specifies a C major triad plus a minor seventh (C, E, G, B♭).^[1] These conventions allow performers, particularly in jazz and popular music, to interpret and voice the chord flexibly while maintaining harmonic consistency.^[10] Variations in chord notation arise across musical genres, reflecting differing analytical needs. In popular and jazz contexts, the letter-based system described above predominates for its directness in lead sheets.^[10] By contrast, classical music theory often employs Roman numerals to indicate chord function relative to the key, such as I for the tonic major or ii for the supertonic minor, prioritizing relational harmony over absolute pitch.^[10] This distinction underscores how letter symbols focus on specific pitches, while Roman numerals emphasize tonal relationships.^[10] When reading chord symbols, their placement above the musical staff signals that the indicated harmony should be performed simultaneously with the underlying melody or rhythm, typically centered over the beat where the chord changes.^[10] In lead sheet notation, a symbol remains active until superseded by the next one, integrating seamlessly with staff notation to guide improvisation without prescribing exact voicings.^[10] This positioning ensures clarity in ensemble performance, linking the symbolic shorthand to the visual and temporal flow of the score.^[9]

Chord Qualities

Major and Minor Chords

Major chords are the foundational consonant triads in Western music, denoted by a single uppercase letter representing the root note, such as C for the C major chord consisting of the root, a major third, and a perfect fifth.^[2]^[1] This notation assumes the major quality as the default in lead-sheet symbols, where no additional modifiers are needed.^[1] The intervallic structure features a major third (four semitones above the root) stacked with a perfect fifth (seven semitones above the root), creating a bright, stable sonority, as in C-E-G. Minor chords, in contrast, convey a darker, more introspective quality and are notated with the root letter followed by "m" (e.g., Cm for C minor), a dash (C-), or historically "min" (Cmin), all indicating a root, minor third, and perfect fifth.^[2]^[1] The minor third interval spans three semitones from the root, followed by the perfect fifth at seven semitones, yielding structures like C-E♭-G. These symbols derive from lead-sheet conventions independent of key signatures, prioritizing simplicity for performers.^[2] In diatonic contexts within major keys, major chords frequently appear as the I (tonic) and IV (subdominant) functions, providing harmonic stability and resolution, such as C major and F major in the key of C.^[11] Minor chords, meanwhile, often serve as ii, iii, or vi degrees, contributing tension and color to progressions while maintaining consonance.^[11] This usage underscores their roles in building foundational harmonic frameworks across genres like classical, jazz, and pop.^[1]

Augmented and Diminished Chords

Augmented chords, also known as augmented triads, consist of a root, a major third (four semitones above the root), and an augmented fifth (eight semitones above the root).^[12]^[9] The augmented fifth is one semitone larger than the perfect fifth found in major and minor triads.^[12] In chord notation, augmented triads are typically symbolized by adding a plus sign (+) after the root or using the suffix "aug," such as C+ or Caug for the chord built on C (C-E-G♯).^[9]^[13] Diminished chords, or diminished triads, are formed by a root, a minor third (three semitones above the root), and a diminished fifth (six semitones above the root).^[12]^[9] The diminished fifth is one semitone smaller than the perfect fifth, creating a dissonant quality distinct from the consonant minor triad.^[12] Notation for diminished triads includes the suffix "dim" or a degree symbol (°), as in Cdim or C° for the chord on C (C-E♭-G♭).^[9]^[13] The half-diminished chord, a related structure at the triad level with an added minor seventh, is notated as m7♭5, such as Cm7♭5 (C-E♭-G♭-B♭).^[13] These chords derive their tense, unstable qualities from the altered fifths, contrasting the diatonic stability of major and minor triads.^[14] In classical music, diminished triads often function as leading-tone chords (vii°), providing chromatic resolution to the tonic or other diatonic harmonies.^[15] Augmented and diminished chords also appear in chromatic harmony to heighten tension, such as in jazz progressions where they serve as passing or substitute chords to create dissonance before resolving.^[13]^[16]

Seventh and Extended Chords

Dominant and Non-Dominant Seventh Chords

Seventh chords extend the basic triad by adding a fourth note, typically a seventh interval above the root, creating richer harmonic textures in music. These chords are classified based on the quality of the triad and the type of seventh interval, leading to distinctions between dominant and non-dominant varieties. The dominant seventh, a major-minor seventh chord, features a major triad with a minor seventh, while non-dominant types include major sevenths (major triad with major seventh), minor sevenths (minor triad with minor seventh), half-diminished sevenths (diminished triad with minor seventh), and fully diminished sevenths (diminished triad with diminished seventh). This differentiation affects both notation and harmonic function, with dominant sevenths providing strong tension for resolution and non-dominants offering subtler color.^[17] The dominant seventh chord is notated simply as a root followed by the numeral 7, such as C7 for the chord built on C. It comprises the root, a major third (4 semitones above the root), a perfect fifth (7 semitones above the root), and a minor seventh (10 semitones above the root). This structure, often referred to as a major-minor seventh, introduces dissonance through the minor seventh, which lies a half step below the octave. In lead sheets and jazz notation, the symbol 7 alone implies this dominant quality when the root is specified, distinguishing it from other seventh types.^[18]^[19]^[20] Non-dominant seventh chords vary in notation and interval content to reflect their triad qualities. The major seventh chord uses symbols like Cmaj7 or CM7 (sometimes △7), consisting of a major triad plus a major seventh interval of 11 semitones above the root, resulting in a brighter, more stable sound than the dominant. The minor seventh, notated as Cm7, builds on a minor triad (root, minor third at 3 semitones, perfect fifth) with a minor seventh (10 semitones), providing a mellow, introspective tone common in minor keys. The half-diminished seventh, notated as Cm7♭5 or Cø7, consists of a diminished triad (root, minor third at 3 semitones, diminished fifth at 6 semitones) plus a minor seventh (10 semitones), offering a tense yet subdued quality often used in minor key progressions. The fully diminished seventh, symbolized as Cdim7 or C°7, stacks three minor thirds for an interval progression of root to minor third (3 semitones), diminished fifth (6 semitones), and diminished seventh (9 semitones), yielding intense dissonance.^[19]^[21]^[22]^[17] In terms of function, the dominant seventh chord, particularly as the V7 in a key, generates strong pull toward resolution due to its tritone between the third and seventh, which demands voice leading to the tonic chord (I or i). This resolutive quality makes it essential in functional harmony for creating forward momentum and closure. Non-dominant seventh chords, by contrast, serve primarily to enhance harmonic color and depth without the same imperative for resolution; for instance, the Imaj7 adds lushness to tonic functions, while ii7 or vi7 supports pre-dominant or plagal progressions with added tension that dissipates more gently, and iiø7 provides subtle dissonance in minor keys. Fully diminished sevenths often act as leading-tone substitutes, heightening instability in passing but resolving flexibly beyond just the tonic.^[18]^[23]^[24]^[17]

Ninth, Eleventh, and Thirteenth Chords

Ninth chords extend the dominant seventh chord by adding the ninth interval above the root, typically denoted as C9 for a C major ninth chord, which theoretically includes the root, major third, perfect fifth, minor seventh, and major ninth (C–E–G–B♭–D).^[25] In practice, the perfect fifth is often omitted to facilitate smoother voicings on instruments like guitar or piano, resulting in a four-note structure emphasizing the ninth for added color without altering the chord's function.^[26] The notation "9" implies the presence of the seventh, distinguishing it from "add9" or "Cadd9," which adds the ninth to a triad without the seventh.^[27] Eleventh chords build further by incorporating the perfect eleventh (the fourth an octave higher) to the ninth chord structure, symbolized as C11 (C–E–G–B♭–D–F), though the major third is commonly omitted to avoid the dissonant minor ninth interval between the third and eleventh, creating a suspended or open sound often notated as C9sus4 in lead sheets.^[25] This omission of the third gives the chord a neutral, ambiguous quality suitable for tension resolution, while the fifth may also be excluded in dense jazz arrangements. Alterations like ♯11 (C7♯11) are frequent in modal interchange, but the base eleventh assumes natural extensions from the major scale unless specified.^[27] Thirteenth chords represent the fullest extension in this category, stacking up to the major thirteenth (the sixth an octave higher) as in C13 (C–E–G–B♭–D–F–A), yet practical voicings routinely omit the fifth, eleventh, and sometimes the third to prevent overcrowding and excessive dissonance on four-string instruments.^[28] A typical reduced voicing might prioritize the root, third, seventh, and thirteenth (C–E–B♭–A), allowing the eleventh's suspension to resolve naturally in progression.^[25] The "13" symbol implies all lower extensions including the dominant seventh base, with the thirteenth providing a rich, melodic capstone.^[27] In jazz notation conventions, these numerical extensions (9, 11, 13) indicate intervals added above the root, always presupposing a seventh chord foundation unless explicitly stated otherwise, such as in "Cmaj9" for major seventh plus ninth.^[25] Alterations appear in parentheses for precision, like C9(♭5) or C13(♯11), guiding performers on tensions.^[27] These chords are staples in jazz harmony, serving as cues for improvisation where upper extensions suggest scale choices—like the Mixolydian mode for dominant 9/11/13—enhancing reharmonization and soloing over standards.^[26]

Modified and Alternative Chords

Added Tone and Suspended Chords

Added tone chords extend a basic triad—such as a major or minor triad—by incorporating an additional note that is not part of the standard tertian structure, without implying the presence of a seventh.^[5] The notation typically uses the "add" prefix followed by the interval number to specify the added tone, distinguishing it from extended chords that include a seventh.^[29] For instance, a C6 chord consists of the notes C, E, G, and A, forming a major triad with an added major sixth.^[30] Similarly, a Cadd9 chord includes C, E, G, and D, adding the major ninth (equivalent to the major second an octave higher) to the major triad, explicitly without a seventh to avoid confusion with a dominant ninth chord.^[31] These added tones often impart a sense of warmth and richness to the harmony, enhancing the emotional depth of a progression beyond the starkness of a plain triad.^[32] The major sixth in a C6, for example, creates a mellow, consonant extension suitable for ballads or jazz contexts.^[30] Suspended chords, in contrast, modify a triad by replacing the third with another note, typically the second or fourth, resulting in a sound that lacks the major or minor quality of the third.^[33] The notation employs "sus" followed by the interval, such as sus4 or sus2; if unspecified, "sus" defaults to sus4.^[5] A Csus4 chord comprises the root, perfect fourth, and perfect fifth—notes C, F, and G—effectively suspending the third (E) to introduce tension.^[34] Likewise, a Csus2 chord uses the root, major second, and perfect fifth—notes C, D, and G—creating an open, unresolved texture.^[34] In genres like rock and folk, suspended chords generate harmonic ambiguity, evoking a neutral or floating quality that delays resolution and adds emotional nuance to progressions.^[33] This ambiguity allows sus chords to bridge major and minor tonalities seamlessly, as seen in rock tracks where a sus4 builds anticipation before resolving.^[35]

Power Chords and Slash Chords

Power chords, also known as fifth chords, are dyadic structures consisting solely of a root note and its perfect fifth, omitting the third to avoid defining major or minor tonality.^[36] This simplification results in a neutral, ambiguous sound that emphasizes harmonic stability without tonal color. In notation, power chords are typically indicated by appending the numeral "5" to the root name, such as C5 for a C power chord encompassing C and G (often doubled at the octave for fuller voicing on guitar). They are prevalent in rock music, where heavy distortion amplifies their overtones, creating a thick, aggressive texture that enhances the genre's rhythmic drive. Slash chords employ a notation system where a standard chord symbol precedes a forward slash followed by a bass note, specifying a particular voicing or inversion, as in C/G to denote a C major triad (C-E-G) with G as the lowest note.^[9] This syntax, rooted in lead-sheet conventions, allows the bass note to be any pitch—whether a chord tone for inversions (e.g., first inversion in C/E) or an external note for pedal effects—providing flexibility beyond root-position triads.^[2] For instance, C/B♭ indicates a C major triad over B♭ in the bass, facilitating smooth progressions by outlining bass motion.^[1] In practice, power chords form the backbone of rock progressions, such as the I-IV-V sequence (e.g., G5-C5-D5), leveraging their compatibility with distorted guitar tones to produce a powerful, unison-like punch.^[36] Slash chords, meanwhile, are integral to pop music arrangements, where they articulate walking bass lines or inversions to propel harmonic flow, as seen in descending patterns like C/G-Am/F-F/C that mimic independent bass movement without altering the upper chord structure.^[37]

Advanced Notations

Polychords and Cluster Chords

Polychords represent a sophisticated approach to chord notation, involving the simultaneous superposition of two or more independent chords to create layered harmonic textures. Typically, a polychord consists of two triads, two seventh chords, or a combination of a seventh chord and a triad sounded together.^[38] This structure allows composers and arrangers to evoke complex, polytonal effects without implying a single root or inversion.^[38] In notation, polychords are commonly indicated using a horizontal line, with the upper chord placed above the line and the lower chord below, such as C7 over E♭ major triad, which denotes a C7 chord superimposed over an E♭ major triad.^[39] This differs from simple slash chords by emphasizing the full voicing of multiple distinct harmonic units rather than a bass inversion.^[38] In lead sheets and jazz arrangements, this format facilitates improvisation over dense progressions, as seen in modern jazz compositions where polychords enhance tension and color.^[40] Cluster chords, also known as tone clusters, form another advanced notation category, comprising at least three adjacent pitches from a scale—often chromatic—struck simultaneously to produce dense, dissonant sonorities.^[41] A prototypical example is the chromatic cluster C-D-E, which spans a minor third and emphasizes seconds rather than traditional third-based intervals.^[41] These structures prioritize timbral and textural effects over functional harmony, creating a blurred, resonant mass of sound.^[42] Notation for cluster chords varies but often employs brackets to enclose the notes, such as [C-D-E], or a solid line connecting the highest and lowest pitches to indicate the full range to be played, as pioneered by Henry Cowell in early 20th-century works.^[41] In impressionist music, clusters appear in evocative contexts, such as the alternating tone clusters and fourths in Claude Debussy's La cathédrale engloutie, which simulate the gentle splashing of waves through their dissonant layering.^[43] Contemporary applications extend to avant-garde compositions by figures like György Ligeti, who used graphical notations for expansive clusters in organ pieces like Volumina, and to film scores, where they underscore dissonance and atmospheric tension.^[41]

Alterations, Omissions, and Other Symbols

In chord notation, alterations modify specific tones within a chord, typically using sharp (♯) or flat (♭) symbols applied to extensions beyond the basic triad or seventh. For instance, in jazz harmony, a dominant seventh chord like C7 can be altered to C7♯9 by raising the ninth from D to D♯, creating tension often resolved to the tonic, or C7♭13 by lowering the thirteenth from A to A♭ for a bluesier sound. These alterations are common in dominant chords to enhance color and imply specific scales, such as the altered scale for ♯9 and ♭13 combinations. The shorthand "alt" denotes a fully altered dominant seventh, implying ♭9, ♯9, ♭5, and/or ♯5, as seen in lead sheets for improvisation.^[26]^[5]^[44] Omissions simplify chord voicings by excluding certain notes, denoted by "no," "omit," or "O" followed by the omitted degree. A common example is Cno3, which omits the third (E in C major), resulting in a shell voicing of root, fifth, and seventh (C-G-B♭ for C7), emphasizing the essential guide tones for comping in jazz while avoiding clutter on instruments like piano or guitar. This approach is particularly useful in dense arrangements or when the omitted note is implied by the melody or bass line.^[45]^[46] Other symbols provide compact representations of chord qualities or optional elements. The slashed circle Ø indicates a half-diminished seventh chord, such as Cø7 (C-E♭-G♭-B♭), distinguishing it from fully diminished (°) chords. The triangle Δ signifies a major seventh chord, as in CΔ (C-E-G-B), a standard in jazz for its bright, extended sound. Parentheses enclose optional or additional tones, like C7(♭9), where the ♭9 (D♭) may be included for color but is not essential to the core voicing.^[47]^[48]^[49] Genre-specific variations adapt notation to context. In jazz and popular music, letter-based symbols with alterations (e.g., C7♯9) prevail for flexibility in real-time performance, contrasting classical music's Roman numeral analysis, which uses scale-degree numbers like V7/ii to denote functional harmony relative to the key, such as G7 over D minor. The Nashville Number System, common in country and session work, employs Arabic numerals for scale degrees with modifiers like "m7," where 1m7 represents the relative minor seventh chord (e.g., Am7 in C major).^[50]^[51] In 21st-century digital audio workstations (DAWs), chord notation extends to MIDI implementations like chord triggers, where a single MIDI note activates a pre-programmed chord voicing, including alterations or omissions, as in Logic Pro's Chord Trigger MIDI FX plugin, facilitating rapid prototyping in software such as Ableton Live or Logic Pro.^[52]

References

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[37]
Music Theory for People Who Can't Read Music - CRAS
But, take into consideration most modern rock music – the power chord contains a root note, a note a fifth interval above the root, and often a parallel octave ...
[38]
Slash Chords: Song and Bassline Examples - StudyBass
9 Recommended Basslines and Songs ; This Old Heart of Mine. Isley Brothers ; What Is and What Should Never Be. Led Zeppelin ; Thank You. Led Zeppelin ; Got to Get ...
[39]
Polychords - Music Theory for the 21st-Century Classroom
A polychord typically consists of two triads sounding simultaneously. A polychord could also consist of two seventh chords, or a seventh chord and triad.
[40]
Polychords - TJPS - The Jazz Piano Site
A polychord is, as the name implies, two or more chords superimposed on top of each other. It's written as two chords, one on top of the other, separated by a ...
[41]
Jazz - and Twenty-First-Century Music - University of Iowa Pressbooks
Augmented-sixth chords are enharmonic dominants (see below), and augmented seventh chords are dominants with a sharp fifth. Lead sheets (scores with just ...
[42]
Tone clusters | Chromatone.center
A tone cluster is a musical chord comprising at least three adjacent tones in a scale. Prototypical tone clusters are based on the chromatic scale and are ...
[43]
Clusters - BEYOND MUSIC THEORY
A cluster is a chord built by at least three adjacent tones of a scale. In this form they are similar to chords by seconds as the adjacent tones usually ...
[44]
[PDF] Impressionism in the Piano Music of Claude Debussy
1) Tone clusters alternating with fourths give gentle splashing effect. (Example 46). (1). 2. (M. 4) Triplets of augmented and perfect fourths with parallel ...
[45]
Jazz chord symbols: a primer for the classically-trained
Jan 16, 2012 · Accidentals are used to create alterations, with sharps and flats loosely interpreted to mean altering the indicated note by a half-step, even ...
[46]
Shell Chords and Omitting Notes from Chords - The Jazz Piano Site
In Jazz you don't always need to play every single note in a chord. In fact, all you need to play is the 3rd and 7th - these is called a Shell Chords.
[47]
How to Play Shell Voicings for Jazz Guitar (3-Note Chords)
Nov 2, 2020 · Shell voicings are a family of chord shapes found on the lower strings of the guitar, which include only the essential tones (1, 3 and 7) of each chord.
[48]
Chord Symbols Explained - Pianote
Dec 5, 2023 · Diminished, dim o. Half-diminished***, ø. *Some people use Δ to indicate any major tonality; while others use Δ as a shorthand for a major 7th ...
[49]
Jazz Chord Symbols Explained (all the types of chord you need to ...
C major 7 (C E G B), can be written as 'CΔ', 'C maj 7', 'C ma 7'. ; C minor 7 (C Eb G Bb), can be written as 'C-7', 'Cm7', 'C min 7', 'C mi 7'. ; C dominant 7 ( ...
[50]
Parenthesized chord symbols - Dorico SE - 4.3 - Steinberg.help
Parentheses around chord symbols are often used to indicate an alternative set of chord changes or that chords are optional.<|control11|><|separator|>
[51]
Chord Symbol Notation Basics - malletjazz.com
Classical harmony often uses only the basic triad, while jazz harmony makes greater use of the upper extensions (7th, 9th, 11th, 13th). If no extension is shown ...
[52]
How To Analyze a Jazz Standard Using Roman Numerals
Minor chords are written in lowercase roman numerals, while major and dominant chords are written in uppercase roman numerals. Roman Numerals 3. A Minor ...Major Diatonic Chords With... · Take The A Train – Roman...
[53]
How to use MIDI FX in Logic Pro X - Mixed In Key
In basic terms, the Logic Chord Trigger tool works by interpreting a single note as a predetermined chord. This note can be a MIDI note on a MIDI Instrument ...<|control11|><|separator|>