第八课：和弦符号理论与其他爵士和弦

导语
你为什么要学习这堂课的知识：
我们已经学习了爵士音乐中最为常见的一些三和弦和七和弦。在这节课中，我们将会扩

展和弦的讨论范围。首先我们将学习常见的一些爵士标准曲中和弦与旋律的关系。紧接

着我们将讨论如何写与理解爵士和弦符号。最后，我们将介绍爵士音乐中使用的一些其

他的三音或四音和弦。

学完本节课，你将能够做到：
1、和弦与旋律的关系

2、和弦符号理论

3、其他常见的三音与四音和弦

知识点 1：和弦与旋律的关系

我们倾向于把和弦理解成垂直的音高结构——由高和低的音同时演奏。这样思考和弦并

没有任何的问题，但是在爵士音乐中，钢琴手和吉他手也会同时演奏不同的和弦音。

虽然和声是纵向的，但是它也有横向的维度。旋律乐器会勾勒出和弦的走向。在爵士乐

队中，萨克斯手和歌手会从和弦音中延伸出来构建自己的旋律线条。和弦与旋律有明显

且密切的练习。通常情况下，和弦音在旋律中会在一些明显的位置出现：强拍、乐曲的

开头和结尾、以及在级进线条和琶音跳进中。

爵士标准曲“All the Things You Are”前八小节中勾勒出了每个和弦的三音，以及一

些其他的和弦音：
“There Is No Greater Love”的最后八小节旋律用级进与跳进的方式使用了多个和弦

音。值得注意的是乐曲清晰地结束在了 Bb 音上，它是最后一个和弦的根音，也是 Bb 大

调的主音。还应该注意旋律运动方向的变化：上行跳进之后紧接着下行的级进。

有时候爵士旋律会在一些拍子中勾勒出了整个和弦。“Isfahan”的旋律就是以一个下

行的和弦琶音开始，这是 Dbmaj7 的全部和弦音，这个和弦也是整个乐曲的主和弦和第

一个和弦。

知识点 2：和弦符号理论

在最近的课程中，我们已经学习了常见的三和弦和七和弦以及它们对应的和弦符号。在

这节课中我们将会学习一些和弦符号中的信息，这样你就能够在看到一些不熟悉的和弦

符号时，也能准确且快速地解码并理解。
和弦符号左边的部分是和弦的根音音名，右边的一些符号例如“m,” “+”, 和 “°”

等等，它们指示着和弦的属性，例如小、增和减。

在和弦根音和性质符号的右边还会出现一些符号。这包括了增加的音符，例如“6”，

“7”和“9”，它们是指在根音上的增加的音（在上面的例子中指的是一个六度音、七

度音或九度音）。

“add”或“omit”（或“no”）这些单词有时会用来表达增加或去掉某些特定的和弦

音。“sus”这个单词用来表达将和弦的三音替换成另一个音，通常为 4 音。

在上面讲的记号的右边，我们还可以添加和弦变音的符号，例如#5，b5 和 b13.这些符

号意味着这些和弦音升高或降低了一个半音。和弦变音记号有时也用括号括起来。

当你写你自己的和弦符号时，用正常的字体大小写和弦的根音和和弦性质符号，在右上

角加上想要添加的音以及和弦变音。
知识点 3：其他三音或四音和弦

下图是爵士音乐中使用到的其他标准的三音或四音和弦公式。这些和弦比起你已经学到

的三和弦和七和弦来说比较少见，但是它们在爵士标准曲中也有出现，所以学习它们也

是很有必要的。

上文讲到，挂留和弦是指将三音替代成其他的音——通常是 4 音。挂四和弦的和弦符号

是 1-4-5。它的符号是 sus4（或者直接使用 sus）。因为三音的缺失与纯四度音程的出

现，挂留和弦听起来比大三和弦和小三和弦都更加开放。

属七和弦也可以被挂留，属七挂留和弦的和弦公式是 1-4-5-b7.它的和弦符号是 7sus4。

属七挂四和弦结合了标准属七和弦的明亮声响与挂留和弦的开放性。

我们已经学习过了小七和弦，它是由小三和弦加一个 b7 音。小和弦也可以由小三和弦

加一个大七度音程结合。这个特别的和弦叫小大七和弦，它的公式是 1-b3-5-7。它标准

Δ7 mΔ7, maj7
的和弦符号有− , and m 。这个和弦有不同寻常的紧张的声音，可以尝试演唱它！
六和弦是四音和弦，它包含了一个三和弦加一个六音。在爵士音乐中，六和弦通常用来

替代七和弦。所以我们可以将六和弦看作是七和弦的替代。

常见的六和弦包含了大三或小三和弦，加一个根音上的大六度音程的六音。前者是大六

和弦，公式是 1-3-5-6。后者是小六和弦，和弦公式是 1-b3-5-6。大六和弦和小六和弦

通常用来分别替代大七和弦和小七和弦。

作业 1：F#m6、Bb6、F7sus4 和弦的和弦音分别是什么？

作业 2：下图中和弦的和弦符号是什么？
JAZZ HARMONY I
CLASS #8: CHORD SYMBOL THEORY AND OTHER JAZZ CHORDS
By Murray James Morrison

We have learned about the most common triads and seventh chords in jazz music. In
this lesson, we expand our discussion of chords in several directions. We begin with
a description of the relationship between the chords and melodies of common jazz
standards. We then discuss how to write and interpret jazz chord symbols. We then
conclude the lesson by introducing several additional three- and four-note chords
used in jazz music.

Knowledge #1

We tend to think about chords as vertical pitch structures—as sets of high and low
tones played simultaneously. There is nothing wrong with thinking about chords this
way. After all, in jazz music, pianists and guitarists do play multiple chord tones
simultaneously.

While harmony is vertical, it also has a horizontal dimension. Melodic instruments

outline chords in time. In jazz bands, saxophonists and vocalists spread out chord
tones within their melodic lines. And chords and melodies have a clear and close
relationship. Chord tones occur in melodies in prominent places: on strong beats, at
the beginnings and ends of phrases, and in both stepwise lines and arpeggiated
leaps.

The melody in the first eight measures of the jazz standard “All the Things You Are”
outlines the third of every chord, plus several other chord tones.

The melody in the last eight measures of “There Is No Greater Love” outlines
multiple chord tones by step and by leap. Notice that the song clearly ends on Bb,
which is both the root of the final chord and the tonic (the “1” note) in Bb major.
Note also the changes in melodic motion; upward leaps in the melody are followed
by descending steps.

Sometimes jazz melodies outline an entire chord in just a few beats. The melody to
the jazz standard “Isfahan” begins with a descending chord arpeggio outlining each
tone of Dbmaj7, the tonic and first chord of the piece.

Knowledge #2

In recent lessons, we learned the corresponding chord symbols to the most common
triads and seventh chords in jazz music. In this lesson, we will learn how information
in chord symbols is typically written, so you can decode unfamiliar chord symbols the
first time you see them.

The leftmost part of a chord symbol is reserved for the chord root, which is indicated
with its corresponding note letter. To the right of the chord root appear symbols like
“m,” “+”, and “°”, which indicate minor, augmented, and diminished chord quality.

Additional symbols can appear to the right of the chord root and indicators of chord
quality. These include symbols for added tones, like “6”, “7”, and “9”, which indicate
the presence of additional tones above the chord root (in this case: a sixth, seventh,
or ninth).

Words like “add” and “omit” (or “no”) are sometimes used to indicate the addition
or omission of certain chord tones. The word “sus” (short for “suspension”) is used
to indicate the substitution of the third of a chord with another tone, typically a
fourth.

To the right of symbols for added tones are symbols for chord alterations, like #5, b5,
and b13. These symbols indicate chord tones that are raised or lowered by one
semitone. Chord alterations sometimes occur in parentheses.

When writing your own chord symbols, write chord roots and indicators of chord
quality (m, +, ° ) in normal text. Write added tones and chord alterations in
superscript.
Knowledge #3

Below are the formulas for several other standard three- and four-note chords used
in jazz music. These chords are less common than the triads and seventh chords you
have already learned, but they do appear in many jazz standards, so it is necessary to
know them.

As mentioned above, suspended chords are chords whose third is replaced by

another tone—most frequently the fourth. The chord formula for a suspended
fourth chord is 1-4-5. The symbol for a suspended fourth chord is sus4 (or more
simply, sus). Because of the lack of a third and the presence of a perfect fourth,
suspended chords sound more open than major and minor triads.

Dominant seventh chords can be suspended, as well. The formula for a suspended
dominant seventh chord is 1-4-5-b7. Its chord symbol is 7sus4. The sound of a
suspended dominant seventh chord combines the bright sound of a standard
dominant seventh chord with the open sound of suspended triad.

We have already encountered the minor seventh chord, which contains a minor
third and a minor seventh. Minor chords can also appear with a minor third and a
major seventh. This particular chord is called a minor major seventh chord. Its
formula is 1-b3-5-7. Its standard chord symbols include −Δ7, mΔ7, and mmaj7 (with the
chord suffix written in superscript for clarity). This seventh chord has an unusually
tense sound. Try singing it!
Sixth chords are four-note chords consisting of a triad with an added sixth tone. In
jazz music, sixth chords are often used as substitutes for seventh chords. So, treat
sixth chords as seventh chord replacements.

The most common sixth chords consist of a major or minor triad, plus a major sixth
above the root. The former is called a major sixth chord. Its chord formula is 1-3-5-6.
The latter is called a minor sixth chord. Its chord formula is 1-b3-5-6. Major sixth
chords and minor sixth chords are often used as substitutes for major seventh
chords and minor seventh chords, respectively.