Jazz Theory books differ widely in the way they introduce the harmonic language.
In particular, the differences often relate to performance practice, that is, the ...
Jazz Theory and Practice Module 2, a,b,c Dominant-7th, Added-6th and Minor-7th Chords, The (II V I) progression Introduction; terminology Jazz Theory books differ widely in the way they introduce the harmonic language. In particular, the differences often relate to performance practice, that is, the way that chords are interpreted by the performer. Experienced jazz performers, especially keyboard players, know that when the performer sees the chord symbol for a dominant-7th chord (G7, for example) the actual chord, in certain contexts, may include additional notes, particularly the 9th and the 13th. In The Jazz Theory Book by Mark Levine, one of the most comprehensive books on Jazz Theory, the very first harmonic examples in the second chapter (the IIVI Progression) use chord symbols for 7th chords, but 9ths and 13ths appear in the “realized” version in the music. Other jazz theory books introduce 9ths, 11ths and 13ths (often called extensions) quite early in the study of harmony. In this program the author has chosen to avoid those 9th, 11th, and 13th extensions, for the most part, until later in the program, and confine the initial study of harmony to 7th and added-6th chords. There is an obvious pedagogical advantage to limiting the student to these simpler chord structures in the beginning stages, but it should be emphasized that this body of chords is hardly confining at all. This is basically the harmonic language of “swing”, and earlier jazz styles, it is the language of “rhythm and blues”, and the language of most popular music. It is the basic harmonic language of musical theatre, and the language that will be found in any standard piece of sheet music. As we move through our study of Jazz Theory we will use two different labeling systems for chords. Most often we will use the system of chord symbols that is familiar to musicians who work in various contemporary idioms: jazz, blues, folk music and popular music. Copyright © 2012 Peter J. Clements
The chord symbols are always above the music, and contain two parts: a letter name (A through G, sometimes with a sharp or flat) that identifies the root of the chord, and an extension that may indicate that the chord is other than major (minor, diminished) and may also indicate notes that are added beyond the basic triad (7, maj7, 9, 11, etc.). The following chords are all built on the root “C”:
2a1
It should be noted that, among arrangers and music copyists, there is considerable variation in the practice of chord symbol notation. The following, for example, are all used for a C major 7th chord: CM7 Cma7 Cmaj7 Cj7 C∆ C∆7 In this program the chord symbols will be always taken from the FINALE chord symbol library. It is always possible to add different chord symbols to the library…but it’s a time-consuming task! In this labeling system the key, and key signature, have no effect on the symbols. If the chord is built on C – E – G, it always has a “C” in the label, regardless of the key. The following example contains three dominant-7th chords: G7, C7, and F7, all used within the key of E-flat major:
2a2
The other basic labeling system, used in the study of traditional harmony, is always related to the key. Each chord in the key is assigned a Roman numeral, based on the scale step that is the root of the chord. The Roman numerals are always written below the music:
2
2a3
Those who have studied traditional harmony will know that there are usually Arabic numbers used, (figured bass) with the Roman numerals, to indicate chord inversions and voice movement within the harmony. We will not include those numbers in our study. If Arabic numbers appear after the Roman numeral, they will always indicate a note added to the basic triad: 6, 7, 9, etc., but never an inversion. “V6” means a dominant chord with an added 6th, not a dominant chord in first inversion. There are also textbooks that use upper case (IV) and lower case (iv) to indicate major and minor chords. We will not use that designation; a chord labeled as “II” could be minor, major, augmented, or diminished. The Roman numerals are basically to remind the student about the basic function of the chord within the key, and the quality of the chord (major/minor etc.) usually doesn’t change the function. The following musical example uses both labeling systems. Study this example carefully, since our study of jazz harmony will sometimes require you to move back and forth between the two systems:
2a4
3
