Lead Sheet Embellishment Symbols/ Sandra Pereira CTM-CCM

(from The HOME Recordings: Strategies for Certified Therapeutic Musicians, Apple Books.)

Over the years, I developed this common-sense system of markings, which seem perfect for CTMs to use with their lead sheets, to quickly interpret how to approach a chord not just harmonically, but texturally and dynamically, enhancing the flexibility of lead sheets for therapeutic or other adaptive performances. For cross-strung harp players, I write chords that contain accidentals in a different color, as an added reminder to drop or raise a finger.

Arpeggiated or Blocked Chords:

1. (C): Parentheses around the chord symbol for blocked chords

   - (C) indicates playing the C major chord as a block

2. C~: Tilde symbol for arpeggiated chords (ascending or descending depending on context or use of an arrow).

   - Example: C~ signals playing a C major arpeggio in the harpist's chosen direction.

3. C~O: Open voicing, arpeggiated

   - Example: C~O signals playig a C major arpeggio in a 1-5-8+ configuration

     (Then I add numbers after the O to signify which scale degrees, ie C~O9-10 for 1-5-8-9-10. Here, the O can signify both Open and Octave, so I know that any numbers after the O include the 8.)

Inversions: #2 is my preference, but we use #1 for those who find it confusing to use scale degree letters

1. C⁶: Superscript numerals for first inversion (6th) and second inversion (6/4).  

   - Example: C⁶ for C/E (C major in first inversion); C⁶/₄ for C/G (second inversion).   

2. C(i) or C(ii): Use Roman numerals to represent root position (i), first inversion (ii), and second inversion(iii).  

   - Example: C(ii) for C/E.

Extended or Altered Chord Qualities:

1. C*7: Asterisk to indicate partial or implied chords.  

   - Example: C*7 for a simplified or "light" C7 (perhaps only root and seventh).

2. C!: Exclamation point for emphasized bass note or bass emphasis.

   - Example: C! means the root or bass note should be strongly emphasized.

Texture/Articulation Symbols:

1. C ^leg: Caret (^) plus leg for legato chord connections.

   - Example: C ^leg means to connect the arpeggio or block chords smoothly.

2. C stacc: "stacc" for staccato articulation.

   - Example: C stacc would mean to play the chord short and detached.

Left Hand Accompaniment Patterns:

1. C|B: Vertical bar (|) for a split chord pattern, indicating the root or tonic should be played in the left hand, and the remainder of the chord in the right hand.

   - Example: C|B means the left hand plays the root (C), and the right hand plays a C major chord.

2. C / waltz: Slash and a specific pattern name like waltz or alberti to indicate the rhythm or accompaniment style.

   - Example: C / waltz means play the C chord in a waltz rhythm (1-2-3).

Dynamics and Pedaling:

1. C pp: Dynamic markers for pianissimo (pp) or other volume suggestions.

   - Example: C pp means to play the C chord very softly.

2. C(P): Parentheses around the chord symbol for pedaled bass notes or lower register.

   - Example: C(P) would signal that the chord should have an anchored, bass-heavy feel. I use C(D) to specify drone.

The symbols and notations I use come from a mix of traditional music theory, instrument-specific practices, and modern adaptations that I’ve either encountered or developed to address specific needs. For example, using parentheses, like (C) for blocked chords, is my way of visually distinguishing styles of playing. It’s not something you’ll find in traditional notation but works well for clarity, especially when I’m teaching or working on arrangements. The tilde (~) for arpeggiated chords feels natural to me because it visually suggests a flowing motion, much like how ornamentation is marked in Baroque music. Adding “O” in CO to represent open voicings or octaves fits with the way harpists and pianists think about spacing; it’s a clear way to specify wider intervals, like 1-5-8.

When it comes to inversions, I rely on both traditional and modern systems. Using C⁶ and C⁶/₄ is directly borrowed from classical figured bass, where superscript numerals indicate intervals above the bass note. At the same time, I’ve also used Roman numerals, like C(i) or C(ii), because they feel intuitive for those who might not be familiar with figured bass but understand functional harmony. It’s a modern adaptation that fits well in certain contexts.

Some of the other symbols I use, like C7 or C!, are more contemporary and come from a need for clarity. The asterisk (*) is my way of marking partial or implied chords, which is a common idea in jazz or simplified arrangements. The exclamation point (!) is something I use to emphasize the bass note or root—it’s a bit of a personal shorthand, but it serves a similar purpose to sforzando (sfz) in classical music, signaling something important.

For articulations, I’ve adapted classical terms like legato and staccato into symbols that are easier to apply to chords. For example, C ^leg combines phrasing symbols with a practical shorthand for smooth, connected playing. Similarly, the vertical bar (|), as in C|B, is my way of splitting chords between the hands. It’s inspired by slash notation (e.g., C/E in jazz), but here it’s tailored specifically for harpists or pianists to show how the hands divide the work. Naming accompaniment patterns, like C / waltz, is another practical addition. It ensures the performer knows exactly what rhythm or style to use, much like how lead sheets describe styles.

Finally, I’ve adapted dynamics and pedaling to fit my needs. Using something like C pp is straight from classical music, but adding symbols like C(P) to indicate a pedaled bass note or anchored chord is my own solution for specifying texture without overcomplicating things. I also use C(D) to call out drones, which is especially useful in folk or modal music. All of these notations are designed to simplify communication and make it easier for performers to interpret the music in a way that’s clear, practical, and expressive.