Jazz chord symbols and nomenclature developed as a shorthand, like figured bass before it. Well-executed, it enables an interpreter to play a piece without needing to read a densely notated score. They also allow players to freely improvise and create within rhythmic, melodic, and voicing frameworks.
Because it’s so freeform, though, there are often multiple chord symbols that can work to describe the same chord. Whether it’s because of enharmonic notes (F#13 / Gb13), multiple functional roots (F#º7 / Aº7), or polystructures (Ab_C7 / C7(b13#9)), there are choices that must be made.
For me, it helps to create the ground rules for why I’m using chord symbols. Then the choices flow from those rules.
- To create a symbol that encapsulates the color of the chord.
- To demonstrate functional relationships between chords.
- To clarify momentary key centers when a key signature doesn’t.
- To make it as easy to sight read as possible.
With those four rules, and an extensive chord vocabulary available to me, it gets a lot easier to choose the best chord symbol for any moment. At least, the chord symbol I think is best!)
What about you? What rules do you use as you make chord notational choices?