what is the method behind naming jazz chords? [closed]

Question

I have recently become confused about how to name chords in jazz.

This is my current understanding:

1. Add chords (without 7th)- chord that contains the root, third, (optional 5th) and one or more extensions (eg- CM add 9).

2. Add chords with 7th- contains root, third, (optional fifth), 7th, and one or more extensions (which are not consecutive- eg CM7 [add] 11)

3. fully extended chord- root, third,(optional fifth), seventh and then one or more consecutive extensions (G11)

4. Sus chords- 2nd or 4th with 5th but no 3.

5. the 6th becomes the 13th whenever the 7th is in the chord (whether the 6th is actually at a lower pitch than the 7th or not).

6. If the chord contains no 3 but does contain a 7th- the 6th becomes a 13th, but the 2nd and 4th will be sus2 and sus 4 respectively (eg A7 sus4 flat 9).

7. If one of the extensions is altered, it is specified, even if it is a consecutive extension (G11 [add] flat 13).

What if:

a chord contains a root and a couple of upper extensions, but no 3rd, 5th or 7th? Eg (C, D, F) Is this a 'C11 sound'?

a chord contains no 3, but a root, 7th, 9th and 11th? (is this going to be C7 sus2 sus4? Or will it be called a (more complete) 'C11 sound'?

*Do you need a 5th for it to be sus? And if you have both the 2nd and 4th, do they immediately become upper numbers, regardless of the other notes in the chord ?

When learning about slash chords, I have seen certain (incomplete) chords referred to as 'sounds'. E/G I have seen referred to as a G13flat9 'sound'- but surely the presence of the third and the lack of 7th would mean this is simply a G-6 (add) flat9?

If i have: root, flat 5, flat6 (no 3)- what would this be called?

If I have: root, 5th, 2nd, 4th- (C sus2 sus 4- or CM11 sound?)

Diminished and half diminished:

C half dim with an 11th- C-7flat 5 add 11?

C half dim with a 9th- C-9 flat 5?

C dim triad with a flat 13th- Cdim add flat 13? Or Cdim flat 6 (as there is no 7)?

There is a lot to address here, so I understand if each point is not addressed directly. I'd simply be happy and grateful to be linked to any illuminating resources! thanks.

Answer 1

TL;DR

A piece that requires chords to be played literally should be written out literally. Chord notation is intended as a convenient shorthand, not as a literal expression.

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Explanation

Chords aren't named based solely on the notes in them, and most improvisers will add or omit notes from a given chord to derive a desired sound.

There are three considerations for naming a chord:

1. The notes in it;
2. The context it appears in (i.e., its function);
3. Convenience.

Example: C-D-F

Taking the example of a chord with a root, second/ninth, and a fourth/eleventh (C-D-F), it might be named:

1. C[add2][add4][omit3][omit5] - This would be a literally accurate description of the chord. It would describe either the exact notes someone played or the exact notes that should be played.
2. C9sus4, Cm9sus4, CM9sus4 - These would be context dependent names. Presumably the chord isn't occurring in a vacuum. There is a melody or surrounding chords. So a melody containing some combinations of E or Eb, and/or B or Bb, would suggest which of the chord designations best fit. Similarly, say the previous chord is Gm7 and the next chord is F -- that would suggest that the C chord is the V in a ii-V-I progression, and so would be named accordingly.
3. Calling it C11, Cm11, or CM11 would be likewise determined by behavior the 2/9 and 4/11. Do they act like suspensions, or like consonances?

Example: C-E-A-B

1. The literal name for this chord could be CM13(omit 5,9,11), or C6(omit 5, add 7), or Esus4/C, or Am(add9)/C, or B7sus4/C. Any of those would result in the exact notes being played, but they're either onerous to read, don't reflect the function of the chord, or a combination of both. And all of them risk the notes being played in an undesirable order: say, C-A-E-B or C-B-A-E.

2. Context will tell us a great deal about this chord, especially which note is the root and whether the inversion is essential. Functionally, for example, the chord really might be CM13. That's a simple notation, but leaves open to the musicians which notes to include or exclude. It could even be CM7, leaving it up to the musicians to add the 6/13 or not according to taste. Or perhaps the A is in the melody, in which case it need not be in the chord symbol at all, trusting the musicians will hear it and adjust.

To reiterate: If a non-standard chord is to be played literally, write it out.