&

?
w
w
w
w
C
w
w b
w
w
Cmin
c
w
w
w
w
#
C
+
Caug
w
w b
w
w
b
C
o
Cdim
w
w
w
w
C/E
w
w
w
w
C/G
&
?
w
w
w
w
CMaj7
C!7
w
w
w
w
b
C7
w
w b
w
w
b
Cmin7
c7
w
w
b
w
w
b
C7
(
b
5
)
w
w
b
b
w
w
b
C7
e
b
min/C
w
w
b
b
w
w b
e
b
min6
C7/E
b
w
w b
w
w
Cmin-Maj7
w
w
w
b
w
w
C7(!7)
&
?
w
w
w
w
Cadd2
Cadd9
w
w
b
w
w
Cadd
b
9
w
w
#
w
w
C(!3)
Cadd
#
9
w
w
w
w
w
CMaj9
w
w
w
b
w
w
C9
w
w
w
b
b
w
w
Cmin9
w
w
w
b
b
w
w
C7-b9
w
w
w
b
b
w
w
C7-(!3)
C7-#9
&
?
w
w
w
w
Csus4
Cadd11
w
w b
w
w
Cmin-add4
Cmin-add11
w
w
#
w
w
Cadd#4
Cadd#11
w
w
w
b
w
w
g7/C
C11
w
w
b
w
w
w
b
Cmin11
&
?
w
w
w
#
b
w
w
CMaj7-
b
9-
#
11
w
w
w
#
w
w
b
C9-#11
w
w
w
b
#
w
w
CMaj7-
b
9-
#
11
w
w
w
b
#
w
w
b
C
b
9
-
#
11
w
w
w
#
b
w
w
b
C7-(!3)-#11
C7-#9-#11
Chord Nomenclature
Joel Love 2009
Theory IV - University of Houston

I. Triads
II. Seventh Chords
III. Added Ninths(Seconds), and Ninth Chords
IV. Sus4, Added Eleventh (Fourths), and Eleventh Chords
A. added ninths (seconds) B. ninth chords
A. added elevenths (fourths) B. eleventh chords
F: V
not:
11
(notice the similarity here)
*
&
?
w
w
w
w
Cadd6
C6
w
w b
w
w
Cmin-add6
Cmin6
a7/C
w
w
w
w
w
Cadd6,2
C
6
9
w
w
w b
w
w
Cadd6-
b
9
w
w
w
w
w
CMaj7-13
w
w
w
w
w
b
C13
( )
&
?
w
w
w
w
w
CMaj7-9-13
w
w
w
w
w
b
C9-13
w
w
w
b
w
w
b
C7-
b
9-13
w
w
w
w
b
b
w
w
b
C7-#9-
b
13
w
w
w
w
#
w
w
b
C7-9-
#
11-13
w
w
w
b
w
w
b
Cmin9-13
&
?
w
w
b
b
w
w
w
w
w b
b
b
w
w
w
w
w b
b
b
w
w
w
b
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
&
?
w
w
w
#
#
#
w
w
w
w
w
w
n
w
w
w
b
b
B
b
min
w
w
b
b
w
w
w
w
w
w
b
b
b
b
b
E
b
7
F
b
Maj
F
b
!7-
#
9-
#
11-13
2
Chord Nomenclature
V. Thirteenths
VI. Quartal and Qunital
VII. Polychords
A. add 6 B. thirteenth chords
Kostka
BHN
4 x 4 on C
quartal tetrad on C quartal pentad on C quartal hexad on C quintal tetrad on C quintal pentad on C quartal hexad on C
5 x 4 on C 6 x 4 on C 4 x 5 on C 5 x 5 on C
6 x 5 on C
A. Quartal B. Quintal
F#Maj/CMaj
GMaj/
=
/
or ( ) ?
A few points for consideration:
1) Although this sheet contains many of the sonorities that we will encounter, it still is not exhaustive.
2) Some of these voicings found above are typical, some are atypical, and all are variable.
3) In terms of nomenclature, all chords are designated with reference to root and quality.
4) Alternate symbols are given in some cases. Prefence is a personal matter. Being consistent is more
important.
*
*- The similarity of a half-diminished seventh chord in rst inversion to a minor add6 six chord is
worthy of note.