Lead Sheet Embellishment Symbols/ Sandra Pereira CTM-CCM

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

A simple yet powerful system of symbols designed specifically for harpists playing from lead sheets! Whether you're accompanying in therapeutic settings or performing solo, these symbols will help you quickly interpret and adapt chord structures, textures and dynamics, bringing clarity and creativity to your music. From indicating arpeggiated or blocked chords to specifying inversions and left-hand patterns, this system makes it easy to shape the music to suit any emotional landscape, giving you the tools to stay flexible, expressive, and connected to your listeners.

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.