DECIPHERING JAZZ CHORD SYMBOLS （破译爵士和弦符号）.pdfVIP

DECIPHERING JAZZ CHORD SYMBOLS © Jason Lyon 2007 www.opus28.co.uk/jazzarticles.html Jazz relies on a shorthand system of chord notation, which is not universal, not standard, and not terribly logical or consistent, at least at first sight. This article is intended as a brief general guide to students who are new to this quixotic system and aims to give you a grounding in what any given chord symbol is trying to tell you. I’ve also tried to clear up what I see as the most confusing ambiguities in the way chord symbols are written. Hopefully, I’ve clarified more confusion than I’ve created! In recent years, the international success of various fakebooks has led to a welcome degree of standardisation in the way chord symbols are written – but there’s still a way to go. In fact, it’s doubtful the system will ever become totally standardised – it has the character of a living language in that respect. This article should also give some insight into the variations you’ll find on bits of manuscript paper and on published lead sheets that are usually prepared by people not familiar with jazz harmony. Best of luck, and feel free to get in touch with me at: jlyon@opus28.co.uk Jason Lyon London September 2007 © Jason Lyon 2006-7 www.opus28.co.uk/jazzarticles.html, jlyon@opus28.co.uk 1. TONIC MAJOR CHORDS The most commonly used symbols for a major chord are: C, C∆, C∆7, C6, C69, CM, CM6, CM7, C∆9, CM9, Cma,(6) (7) (9) Typical use is as the I chord in a II-V-I progression. These different chord variations all perform the same function and are used largely interchangeably. Let’s begin by pinning down what is meant by each symbol if they are being used with total precision as per the symbols: C Major triad: CEG C6, CM6, Cma6 Major