Special Cases
In rare cases, we need symbols that aren’t easily captured using the system above. While it’s often best to just write out what you want, that hasn’t stopped folks from trying.
Incomplete Chords
For chords that are missing notes or need extensions without the implied notes beneath you can use omit or add.
- Want a chord with no 5th? Write Comit5
- Want a dominant chord with no 3rd? C7omit3
- Want a 9 chord without the 7? Cadd9
To me, the first two are easier by just writing the notes on the staff. But in the third case, that chord has become popular, especially in the theatre and gospel worlds.
- Here’s a few other common ones.
- Ex. Cadd2 = another way to write the one above
- Ex. C5 = this one is common in rock music. They call it a “power chord.”
Note here that in every case, the notation makes what’s intended very clear, while the symbol is somewhat vague. Use symbols like this with care and caution.
Modal Names as Chord Symbols
Many composers have adopted writing abbreviated versions of modes as chord symbol.
- C dorian or C dor.
- C phyrgian or C phryg.
- C Lydian or C lyd.
- C myxolydian or C myx.
- If you write this, someone will glare at you. Just use C7 (or 9 or 13).
- C aeolian or C aeol.
- C locrian or C loc.
I’ve even seen a few non-major modes.
- C melodic minor, usually written C mel. or C mel. min.
- C harmonic minor, as C harm.
- And how about C phyrg. dom. for the 5th mode of harmonic minor?
Three things worth noting when using modal names:
- These aren’t technically chords. These names are for full scales. This is a very different way of portraying harmony than all the other techniques.
- There really isn’t a standard voicing for a modal scale. Instead, you’re telling your chordal folks to explore within the scale. This can create amazing results but be prepared for the high level of freedom and unpredictability from your players.
- I only use modal names when I can’t find a better way to represent what I want, but it’s common enough to have made it into the chord libraries of the major notation software out there. And even celebrated big band composer Maria Schneider uses these from time to time.
Polychords
This rare technique looks almost like a slash chord but is actually two chords stacked on top of each other. A slash chord has a diagonal slash (/), while polychords look like a fraction.
Here we have a D triad over a C triad which is a type of lydian sound, and an F# triad over a C triad which is a different way of writing C7b9#11. I’ve seen more of these recently, but if you choose to write this, be ready to get questions from some of your players. Incidentally, it’s a great way of indicating triad pairs which are hard to represent any other way.