Intervals[edit]

Each chord is described as a series of intervallic relationships to the root of the chord. This
provides an accurate and easily understandable basis for working out these chords in each
key.
The terms used to describe intervals are as follows:

 r = root of the chord (while the root is widely used in classical music, pop
music and rock music chord voicings, in jazz, the root is often omitted by the chord-
playing performer(s))
 ♭2 = minor second = 1 semitone (half step) above the root
 2 = major second = 2 semitones above root
 ♯2 = augmented second = 3 semitones above the root
 ♭3 = minor third = 3 semitones above the root
 3 = major third = 4 semitones above the root
 4 = perfect fourth = 5 semitones above the root
 ♯4 = augmented fourth (tritone) = 6 semitones above the root
 ♭5 = diminished fifth (tritone) = 6 semitones above the root
 5 = perfect fifth = 7 semitones above the root (while the fifth is widely used
in classical music, pop music and rock music chord voicings, in jazz, the fifth is
often omitted by the chord-playing performer(s))
 ♯5 = augmented fifth = 8 semitones above the root
 ♭6 = minor sixth = 8 semitones above the root
 6 = major sixth = 9 semitones above the root
 7 = minor seventh = 10 semitones above the root
 M7 = major seventh = 11 semitones above the root
All root chords are described starting with the lowest note, and ascending in pitch. For
instance, a chord described as
root, 3, 5.
contains the root, a major third above the root, and a perfect fifth above the root. It is
a major triad. If this chord were built on C (with C as the root), it would contain the notes
C, E, G.

usicians who omit the root and fifth are given the option to play other notes. For example, if a
seventh chord, such as G7, appears in a lead sheet or fake book, many chord-playing
performers add the ninth, thirteenth or other notes to the chord, even though the lead sheet
does not specify these additional notes. Jazz players can add these additional, upper notes
because they can create an important part of the jazz sound. Lead sheets and fake books
often do not detail how to voice the chord because a lead sheet or fake book is only intended
to provide basic guide to the harmony. An experienced "comping" performer playing electric
guitar or piano may add or remove notes as chosen according to the style and desired sound
of that musician, but must do so in a way that still emphasizes the correct musical context for
other musicians and listeners.
In voicing jazz chords while in a group setting, performers focus first on the seventh and the
major or minor third of the chord, with the latter indicating the chord quality, along with
added chord extensions (e.g., ninths, elevenths, or thirteenths, even if not indicated in the lead
sheet or fake book) to add tone "colour" to the chord. As such, a jazz guitarist or jazz
piano player might "voice" a printed G7 chord with the notes B–E–F–A, which would be the
third, sixth (thirteenth), flat seventh, and ninth of the chord. Jazz chord-playing musicians may
also add altered chord tones (e.g., ♭9, ♯9, ♯11, ♭13) and added tones. An example of
an altered dominant chord in the key of C, built on a G would be to voice the chord as "B–C♯–
E–F–A♭"; this would be G7(♭9♯11).