{"id":637,"date":"2025-04-08T16:09:05","date_gmt":"2025-04-08T16:09:05","guid":{"rendered":"http:\/\/alessandrofois.com\/la-guida-definitiva-agli-accordi-siglati-teoria-e-pratica-della-notazione-americana-e-anglosassone\/"},"modified":"2025-07-10T18:13:42","modified_gmt":"2025-07-10T18:13:42","slug":"the-definitive-guide-to-signed-chords-theory-and-practice-of-american-and-anglo-saxon-notation","status":"publish","type":"post","link":"https:\/\/alessandrofois.com\/en\/la-guida-definitiva-agli-accordi-siglati-teoria-e-pratica-della-notazione-americana-e-anglosassone\/","title":{"rendered":"A Guide to Signed Agreements: Theory and Practice of American and Anglo-Saxon Notation"},"content":{"rendered":"
\n

Theory and practice of American and Anglo-Saxon notation<\/h2>\n

In the vast panorama of Western music, the need to quickly and effectively communicate complex harmonic structures led to the spread of Anglo-Saxon chord notation, also known as abbreviation notation. This system, based on combinations of letters and symbols, allows musicians to immediately understand the type and structure of a chord, without having to read the entire staff.<\/p>\n

Originating in the contexts of jazz, gospel, and twentieth-century popular music, this notation is now widely adopted in pop, rock, soul, and singer-songwriter music. Its success is due to its ability to concisely convey a wealth of harmonic information, which, however, must be interpreted by the performer according to style, flair, and skill. This, in the right context, fosters improvisation, collaboration between musicians, and agile reading.<\/p>\n

Why use acronym notation?<\/h2>\n

Chord notation does not replace traditional staff scores, which remain the most precise system for defining pitch, duration, rhythm, and dynamics. However, chordal notation offers some fundamental advantages:
\n\u2013 allows a quick understanding of the harmonic progression;
\n\u2013 encourages improvisation and customization of accompaniments;
\n\u2013 it is suitable for contexts in which speed of execution or informal communication between musicians is a priority.<\/p>\n

Even the most experienced jazz musicians, although they often work on initials, use the pentagram to:
\n\u2013 write and execute the melodic themes<\/strong>;
\n\u2013 write down the obliged<\/strong>, or the binding harmonic-melodic passages, performed in unison or even in harmony.<\/p>\n

Often, in structural scores, short staff fragments appear to indicate rhythmic details, bass lines, melodic inflections, or other elements that cannot be expressed through simple harmonic symbols.<\/p>\n

How to read and use acronyms<\/h2>\n

Acronyms may appear<\/strong><\/p>\n

1. above the written melody<\/strong>, bar by bar, to indicate the harmonic accompaniment of that melodic fragment;
\n2. within schematic grids<\/strong>, where each cell represents a measure (typical of jazz harmonica cards, tablature, and improvisation guides).<\/p>\n

Examples of use<\/strong><\/p>\n

    \n
  • In 4\/4, a single note in a cell (`| C |`) covers the entire measure.<\/li>\n
  • Two abbreviations (`| C G7 |`) indicate two half measures.<\/li>\n
  • Irregular durations (e.g. 1\/4 + 3\/4) require explicit notation (`C 1\/4 \u2013 G7 3\/4`) or graphic solutions where the elements use appropriate spacings to express the approximate duration of the chord.<\/li>\n<\/ul>\n

    Additional symbols<\/strong><\/p>\n

      \n
    • Stop: indicates a pause;<\/li>\n
    • NC: no chord (absence of harmony);<\/li>\n
    • Lines and brackets: extend or highlight acronyms.<\/li>\n<\/ul>\n

      Stylistic interpretation<\/strong><\/p>\n

      An acronym doesn't define a single sound. Depending on the genre and context, the same chord can be:<\/p>\n

        \n
      • simplified<\/strong> (for example, played in root position, with only the three main notes);<\/li>\n
      • enriched<\/strong> (adding higher notes such as the ninth, eleventh or thirteenth, or introducing accidentals);<\/li>\n
      • turned inside out<\/strong> (placing a note other than the fundamental in the bass);<\/li>\n
      • reworked with different voicings<\/strong>: the chord can be played in closed positions<\/strong> (notes concentrated in a narrow interval) or open<\/strong> (notes distributed over several octaves), or adopt specific provisions such as the quartal voicings <\/strong>(based on fourth intervals) or adopt specific provisions such as quartal voicings<\/strong> (based on fourth intervals) or the famous ones drop 2<\/strong>, used in jazz to distribute the voices more harmoniously and balancedly between the instruments, lowering the second voice from the top by an octave to obtain a more open, fluid sound, suitable for both accompaniment and arrangement for instrumental sections.<\/li>\n<\/ul>\n

        Some practical examples<\/strong><\/p>\n

        Cm7` can be:
        \n\u2013 C \u2013 Eb \u2013 G \u2013 Bb (closed position)
        \n\u2013 C \u2013 F \u2013 Bb \u2013 Eb (quartal)
        \n\u2013 C \u2013 Eb \u2013 Bb \u2013 D \u2013 F (with 9th and 11th)<\/p>\n

        The musician interprets according to taste, style, technique and context.<\/p>\n

        How chord symbols are constructed and initialed<\/h2>\n

        Each acronym is based on a fundamental note (from A to G: ABCDEFG), to which are added symbols that indicate:<\/p>\n

          \n
        • basic chord type or triad (major, minor, diminished, augmented);<\/li>\n
        • possible seventh, ninth, eleventh, thirteenth, etc.;<\/li>\n
        • notes added (add9) or excluded (no3, no5);<\/li>\n
        • accidentals on added notes (\u266f or \u266d);<\/li>\n
        • suspensions (sus2, sus4);<\/li>\n
        • other structural or functional elements.<\/li>\n<\/ul>\n

          A full description with examples can be found in the next section.<\/p>\n

          Symbols used in chord notation<\/h3>\n

          For simplicity of exposition, all examples here are built on the fundamental Do<\/strong> (acronym: C<\/strong>), but the same rules apply to any other fundamental note. The notes that make up chords are expressed in European notation (C, D, E, F, G, A, B) and ordered from bottom to top.<\/p>\n

          \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
          Symbol<\/strong><\/th>\nMeaning<\/strong><\/th>\nExample<\/strong> (with notes in Italian)<\/th>\n<\/tr>\n<\/thead>\n
          Root letter (from A to G = from La to Sol)<\/strong><\/td>\nStarting note of the agreement<\/td>\nC = Do<\/td>\n<\/tr>\n
          Correspondences<\/strong><\/td>\nEquivalences between American and Italian notation<\/td>\nA = A, B = B, C = C, D = D, E = E, F = F, G = G<\/td>\n<\/tr>\n
          m<\/strong><\/td>\nMinor chord<\/td>\nCm<\/code> = C \u2013 Eb \u2013 G<\/td>\n<\/tr>\n
          may<\/strong> o \u0394<\/strong><\/td>\nMajor seventh<\/td>\nCmaj7<\/code> = C \u2013 E \u2013 G \u2013 B<\/td>\n<\/tr>\n
          7 \/ 7+<\/strong><\/td>\nMinor (7) and major (7+) seventh on major triad<\/td>\nC7<\/code> = C \u2013 E \u2013 G \u2013 Bb \/ C7+<\/code> = C \u2013 E \u2013 G \u2013 B<\/td>\n<\/tr>\n
          m7 \/ m7+<\/strong><\/td>\nMinor (m7) and major (m7+) seventh on minor triad<\/td>\nCm7<\/code> = C \u2013 Eb \u2013 G \u2013 Bb \/ Cm7+<\/code> = C \u2013 Eb \u2013 G \u2013 B<\/td>\n<\/tr>\n
          6<\/strong><\/td>\nMajor sixth (upon major or minor)<\/td>\nC6<\/code> = C \u2013 E \u2013 G \u2013 A ; Cm6<\/code> = C \u2013 Eb \u2013 G \u2013 A<\/td>\n<\/tr>\n
          9<\/strong><\/td>\nAddition of the ninth<\/td>\nC9<\/code> = C \u2013 E \u2013 G \u2013 Bb \u2013 D<\/td>\n<\/tr>\n
          <\/td>\n<\/td>\nCm9<\/code> = C \u2013 Eb \u2013 G \u2013 Bb \u2013 D<\/td>\n<\/tr>\n
          <\/td>\n<\/td>\nCmaj9<\/code> = C \u2013 E \u2013 G \u2013 B \u2013 D<\/td>\n<\/tr>\n
          11<\/strong><\/td>\nAddition of the eleventh<\/td>\nC11<\/code> = C \u2013 E \u2013 G \u2013 Bb \u2013 D \u2013 F<\/td>\n<\/tr>\n
          <\/td>\n<\/td>\nCm11<\/code> = C \u2013 Eb \u2013 G \u2013 Bb \u2013 D \u2013 F<\/td>\n<\/tr>\n
          13<\/strong><\/td>\nAddition of the thirteenth<\/td>\nC13<\/code> = C \u2013 E \u2013 G \u2013 Bb \u2013 D \u2013 F \u2013 A<\/td>\n<\/tr>\n
          <\/td>\n<\/td>\nCm13<\/code> = C \u2013 Eb \u2013 G \u2013 Bb \u2013 D \u2013 F \u2013 A<\/td>\n<\/tr>\n
          <\/td>\n<\/td>\nCmaj13<\/code> = C \u2013 E \u2013 G \u2013 B \u2013 D \u2013 F \u2013 A<\/td>\n<\/tr>\n
          \u266f \/ \u266d<\/strong><\/td>\nChanges to higher grades<\/td>\nC7\u266d9<\/code> = C \u2013 E \u2013 G \u2013 Bb \u2013 Db<\/td>\n<\/tr>\n
          <\/td>\n<\/td>\nC7\u266f5<\/code> = C \u2013 E \u2013 G# \u2013 Bb<\/td>\n<\/tr>\n
          <\/td>\n<\/td>\nC7\u266d5<\/code> = C \u2013 E \u2013 G\u266d \u2013 Bb<\/td>\n<\/tr>\n
          <\/td>\n<\/td>\nC7\u266f11<\/code> = C \u2013 E \u2013 G \u2013 Bb \u2013 D \u2013 F#<\/td>\n<\/tr>\n
          sus2 \/ sus4<\/strong><\/td>\nSuspension of third with second or fourth<\/td>\nCsus2<\/code> = C \u2013 D \u2013 G ; Csus4<\/code> = C \u2013 F \u2013 G<\/td>\n<\/tr>\n
          add9<\/strong><\/td>\nAdding the ninth without the seventh<\/td>\nCadd9<\/code> = C \u2013 E \u2013 G \u2013 D<\/td>\n<\/tr>\n
          dim<\/strong> o \u00b0<\/strong><\/td>\nDiminished triad<\/td>\nCdim<\/code> = C \u2013 Eb \u2013 G\u266d<\/td>\n<\/tr>\n
          dim7<\/strong> o \u00b07<\/strong><\/td>\nQuadriad completely diminished<\/td>\nCdim7<\/code> = C \u2013 Eb \u2013 G\u266d \u2013 B\u266db (\u2261 A)<\/td>\n<\/tr>\n
          or<\/strong> o m7\u266d5<\/strong><\/td>\nHalf diminished \/ half diminished seventh<\/td>\nCm7\u266d5<\/code> = C \u2013 Eb \u2013 G\u266d \u2013 Bb<\/td>\n<\/tr>\n
          halt<\/strong><\/td>\nSeventh chord with unspecified alterations<\/td>\nC7alt<\/code> = may include \u266d5, \u266f5, \u266d9, \u266f9<\/td>\n<\/tr>\n
          no.3 \/ no.5<\/strong><\/td>\nRemoval of the third or fifth<\/td>\nC(no3)<\/code> = Do \u2013 Sol<\/td>\n<\/tr>\n
          \/<\/strong><\/td>\nAlternative bass (upside down)<\/td>\nTHERE IS<\/code> = C with low E<\/td>\n<\/tr>\n
          ( )<\/strong><\/td>\nOptional Specifications<\/td>\nC7(\u266f9)<\/code> = C \u2013 E \u2013 G \u2013 Bb \u2013 D#<\/td>\n<\/tr>\n
          NC<\/strong><\/td>\nNo agreement<\/td>\n\u2013<\/td>\n<\/tr>\n
          Stop<\/strong><\/td>\nAccompanying break<\/td>\n\u2013<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n

          The complete table (hopefully) of agreements<\/h3>\n
          \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
          Acronym<\/strong><\/th>\nType of agreement<\/strong><\/th>\nExample (notes in Italian)<\/strong><\/th>\n<\/tr>\n<\/thead>\n
          C<\/td>\nMajor triad<\/td>\nDo \u2013 Mi \u2013 Sol<\/td>\n<\/tr>\n
          Cm<\/td>\nMinor triad<\/td>\nC \u2013 Eb \u2013 G<\/td>\n<\/tr>\n
          Cdim<\/td>\nDiminished triad<\/td>\nC \u2013 Eb \u2013 G\u266d<\/td>\n<\/tr>\n
          Caug<\/td>\nAugmented triad<\/td>\nC \u2013 E \u2013 G#<\/td>\n<\/tr>\n
          Csus4<\/td>\nSuspended triad (fourth)<\/td>\nC \u2013 F \u2013 G<\/td>\n<\/tr>\n
          Csus2<\/td>\nSuspended Triad (second)<\/td>\nC \u2013 D \u2013 G<\/td>\n<\/tr>\n
          C7<\/td>\nSeventh dominant<\/td>\nC \u2013 E \u2013 G \u2013 Bb<\/td>\n<\/tr>\n
          Cmaj7<\/td>\nMajor seventh<\/td>\nC \u2013 E \u2013 G \u2013 B<\/td>\n<\/tr>\n
          Cm7<\/td>\nMinor seventh<\/td>\nC \u2013 Eb \u2013 G \u2013 Bb<\/td>\n<\/tr>\n
          Cdim7<\/td>\nCompletely diminished seventh<\/td>\nC \u2013 Eb \u2013 G\u266d \u2013 B\u266d\u266d<\/td>\n<\/tr>\n
          Cm7\u266d5 (\u00f8)<\/td>\nHalf diminished<\/td>\nC \u2013 Eb \u2013 G\u266d \u2013 Bb<\/td>\n<\/tr>\n
          C7\u266f5<\/td>\nSeventh with augmented fifth<\/td>\nC \u2013 E \u2013 G# \u2013 Bb<\/td>\n<\/tr>\n
          C7\u266d5<\/td>\nSeventh with diminished fifth<\/td>\nC \u2013 E \u2013 G\u266d \u2013 Bb<\/td>\n<\/tr>\n
          C9<\/td>\nNinth (extended dominant)<\/td>\nC \u2013 E \u2013 G \u2013 Bb \u2013 D<\/td>\n<\/tr>\n
          Cmaj9<\/td>\nMajor Ninth<\/td>\nC \u2013 E \u2013 G \u2013 B \u2013 D<\/td>\n<\/tr>\n
          Cm9<\/td>\nMinor ninth<\/td>\nC \u2013 Eb \u2013 G \u2013 Bb \u2013 D<\/td>\n<\/tr>\n
          C7\u266d9<\/td>\nSeventh with diminished ninth<\/td>\nC \u2013 E \u2013 G \u2013 Bb \u2013 Db<\/td>\n<\/tr>\n
          C7\u266f9<\/td>\nSeventh with augmented ninth<\/td>\nC \u2013 E \u2013 G \u2013 Bb \u2013 D#<\/td>\n<\/tr>\n
          C11<\/td>\nEleventh (dominant)<\/td>\nC \u2013 E \u2013 G \u2013 Bb \u2013 D \u2013 F<\/td>\n<\/tr>\n
          Cm11<\/td>\nMinor eleventh<\/td>\nC \u2013 Eb \u2013 G \u2013 Bb \u2013 D \u2013 F<\/td>\n<\/tr>\n
          C7\u266f11<\/td>\nSeventh with augmented eleventh<\/td>\nC \u2013 E \u2013 G \u2013 Bb \u2013 D \u2013 F#<\/td>\n<\/tr>\n
          C13<\/td>\nThirteenth<\/td>\nC \u2013 E \u2013 G \u2013 Bb \u2013 D \u2013 F \u2013 A<\/td>\n<\/tr>\n
          Cm13<\/td>\nMinor thirteenth<\/td>\nC \u2013 Eb \u2013 G \u2013 Bb \u2013 D \u2013 F \u2013 A<\/td>\n<\/tr>\n
          Cmaj13<\/td>\nMajor thirteenth<\/td>\nC \u2013 E \u2013 G \u2013 B \u2013 D \u2013 F \u2013 A<\/td>\n<\/tr>\n
          Cadd9<\/td>\nTriad with added ninth<\/td>\nC \u2013 E \u2013 G \u2013 D<\/td>\n<\/tr>\n
          Csus4(add9)<\/td>\nSuspended with ninth<\/td>\nC \u2013 F \u2013 G \u2013 D<\/td>\n<\/tr>\n
          C(no3)<\/td>\nTriad without third<\/td>\nDo \u2013 Sol<\/td>\n<\/tr>\n
          THERE IS<\/td>\nC with bass in E<\/td>\nE \u2013 C \u2013 E \u2013 G<\/td>\n<\/tr>\n
          C7alt<\/td>\nAltered dominant (variable tensions)<\/td>\nC \u2013 E \u2013 G\u266d \u2013 Bb \u2013 D\u266d \/ G# \/ D#<\/td>\n<\/tr>\n
          NC<\/td>\nNo agreement<\/td>\n\u2014<\/td>\n<\/tr>\n
          Stop<\/td>\nBreak<\/td>\n\u2014<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n

          Conclusion<\/h3>\n

          The Anglo-Saxon chord notation system is now an indispensable tool for anyone who wants to play, arrange, or improvise modern music. Its concise yet profoundly expressive language allows one to navigate rich and multifaceted harmonic worlds, stimulating creativity and fostering musical communication.<\/p>\n

          Knowing how to read and interpret acronyms isn't simply about memorizing formulas, but about understanding a sonic grammar capable of transforming theory into living music. Each symbol encompasses a world of performance possibilities, and its meaning takes shape in the hands and ears of the musician.<\/p>\n

          For this reason, it's essential to study chord structures methodically, listening, and experimenting, learning to master not only the form, but also the context and intention. True mastery comes from the constant dialogue between knowledge, taste, and experience.<\/p>\n

          Knowing the acronyms, in short, is just the beginning: the music, as always, begins when the fingers touch the instrument... and something new comes to life.<\/p>\n

           <\/p>","protected":false},"excerpt":{"rendered":"

          Teoria e pratica della notazione americana e anglosassone Nel vasto panorama della musica occidentale, la necessit\u00e0 di comunicare in modo rapido ed efficace strutture armoniche complesse ha condotto alla diffusione della notazione anglosassone degli accordi, detta anche notazione a sigle. Questo sistema, fondato su combinazioni di lettere e simboli, permette ai musicisti di comprendere immediatamente […]<\/p>\n","protected":false},"author":1,"featured_media":638,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4,54,14],"tags":[],"class_list":["post-637","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-musica","category-tecniche-e-improvvisazione","category-teoria-musicale-e-armonia"],"post_mailing_queue_ids":[],"_links":{"self":[{"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/posts\/637","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/comments?post=637"}],"version-history":[{"count":0,"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/posts\/637\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/media\/638"}],"wp:attachment":[{"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/media?parent=637"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/categories?post=637"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/tags?post=637"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}