Here is the second and last part of the post that I started last week. For those who were editing and experimenting with the tips and information from Part I, in this post you will find more interesting information to apply. For those who have not read Part I yet, I recommend you do it. From this LINK you can access the last post.

 

INVERSIONS
Continuing with the sonorities related to triads and seventh chords, the inversions that emerge from them are written this way: uppercase letter of the chord in question, plus the symbol that named the species of the chord, plus diagonal slash (/), plus uppercase letter of the note that will be used as bass note. Example: C/G, Amaj7/E, Gm/Bb, Ebo/A, etc.

 

SLASH CHORDS
Are written in the same way that investments. Usually are chords that are written in a way and they sound and function differently, so the important thing is the chord which is changed the bass as it works as Voicing (available voices). In turn, the function and scale will be based on the note we use on bass. Example: Cmaj7/D, Ammaj7/B, Em/F, F#7(b9)/Eb, etc.

 

POLYCHORDS (COMPOUND CHORDS)
They tend to be written each chord as detailed as possible as it comes to describe a chord voicings (available voices) in particular. The nomenclature for poly chords is a chord over the other, separated by a horizontal bar. The chord  figure above is played in the high register part and vice versa. Example:

Cm7     E      D 
Bbm     F      C7

 

MODAL SITUATIONS
There is a constant tendency to play chord structures formed by intervals (4th, 2nd, etc …) or the combination of intervals (2nd+5ths, 3rd+2nd, etc …) which are diatonically transposed by the mode scale in matter and/ or chromatically. It is usually written by adding the chord normally adding the legend of the preferred mode and/ or the intervals relationship to be used in the constant structures. Example:  Cm7 (Dorico), Em7 (Frigio/ 4tas), Fmaj7 (Lidio), etc…

There are other types of chords that derive from composition and arrange techniques and are virtually impossible to code. In such situations it is always better to write the chord symbol normally and as detailed as possible, annexing on the staff the disposition of the voices chosen for each situation. Examples of these voicings (for curious) are: Clusters, Spreads, UST (upper structure triads), 4-way (close and open w/ drops), different Voice Leadings, etc … and all you can and want to create.

 

I hope you enjoyed and can take advantage of the information presented in Part I and II of “How to Correctly Write a Chord Symbol”. Now you just have to experiment with the sounds that each chord species presents and above all, to write them in the right way so that everyone can read and interpret it as you wish.
Peace.