Notating simple chords seems an easy enough task… But in jazz and modern music, harmonies often become much more complex, and our beloved triads just don’t cut it anymore.
In this article, our expert musicians will analyze the most common errors in the notation of complex chord symbols (7ths, 9ths, sus2, sus4…), and delve into the use and understanding of tensions.
2nds and 9ths, what does the octave leap mean?
First off, let’s look at a distinction that might seem trivial: that is, the difference between 2nds and 9ths, or 4ths and 11ths. Why should we make such a distinction, given that everything repeats after the octave? Isn’t the 2nd and the 9th of a chord the same note?
Indeed, they are! However, while the 9th suggests a super-structure that is far from the chord tones, the 2nd is used in the absence of certain chord tones, and it won’t create a major dissonance.
This is the reason we use add9, and not add2, and sus2 and not sus9. The same applies to the 4th (sus4 or add11), and something similar happens with the 6ths: they are meant to replace any possible 7th, and otherwise will be notated as the 13th (C6 & C13 on the right).
In sum, 2nds & 4ths replace the 3rd, while 9ths and 11ths don’t. 6ths replace the 7th… and 13ths don’t!
Complex chords: to notate or not to notate, that is the question
Once this is clear, we must acknowledge a kind of uncomfortable fact: a tension notated directly into a chord (like C9 or Am11) implies all the other tensions a 3rd below it. In the case of major chords, if nothing is specified, we assume a dominant chord with a b7 (C13 below), because major sevenths are always notated (Cmaj13 below).
However, a complex chord (like Cm11) doesn’t necessarily mean all those tensions are present. And just imagine how hard it would be for a guitar player to provide all those 6 notes!
But, then, how would Cm11 chord be written out?
Cm7add11 or Cm7(11) would descriptively be the most accurate. However, this kind of precision could be a nightmare for both the transcriber and the performer… Is it that important to specify that the 9th is missing? Actually: no, it’s not… unless there is a good reason for it!
Just like we wouldn’t notate the chord below as C7omit5– (because the absence of the 5th is not relevant in this context), it’s not required to specify the implied chord tones if they are diatonic to the piece and/or to the melody line.
Notating chord tensions: examples and final thoughts
Before finishing, let’s see some examples, in different keys:
- For C13, the absence of the 9th wouldn’t need to be specified, unless the D was not diatonic, or the melody had a Db/D#.
- The same applies to a chord like Am11: it can be notated as written, even without the 9th, unless the Bb appears within the context of the song.
In brief, the key is knowing when to be precise and when to simplify the notation. Here are a few tips to find the perfect balance:
- Determine whether the implied harmony is diatonic.
- Try to make it as easy and clear as possible for the performer.
- Evaluate if the tensions must be specified within the chord. Are they relevant to the lead melody and/or implied in the musical context of the song? Are the tensions constant throughout the piece? And in jazz tunes, how relevant are they for the soloists and the rhythm section?
Check out the main riff of The Police’s classic, Message in a Bottle: here the tensions make up the characteristic sound of the tune.
