Saxophonist | Band Leader | Recording Artist | Record Producer | Professor of Music Emeritus
ABOUT THIS CHORD LIBRARY
I have long been dissatisfied with Finale’s built-in chord symbol libraries, and began building my own chord symbols soon after I switched over to Finale in the mid-1990s. After some 20 years of building and refining my library, I determined that the fonts I had built the chords with appeared dated — and, in any case, many inconsistencies in placement of elements had crept in over the years.
In 2018, I began to build a whole new library from scratch, keeping in mind the lessons I had learned from my original effort. Now, two years later, I have what I believe is a far better-looking, more consistent library of symbols for 92 chords. Bergeron Chord Symbols (BCS) are now available as a free download, subject to the Creative Commons Attribution Share Alike 4.0 International License.
BCS are built on the fonts Source Code Pro for the letters and numbers, and Petrucci for the musical symbols. Source Code Pro is an open source Adobe font designed by Paul D. Hunt and available as a free download. A monotype font, it was created for coding applications, where a clean, readable look is imperative. As such, it is well-suited to use for chord symbols, which likewise require precise conveyance of detail.
The 92 chords that comprise this initial release of BCS include all that I’ve found in common North American fake books, many that are more typically found in Brazilian fake books — principally the Tom Jobim Cancioneiro — and several additional ones that I’ve found useful in my own writing.
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PRINCIPLES OF CHORD SYMBOLOGY
I’m from the generation that originally learned to write chord symbols by hand. As I composed, arranged and transposed lead sheets from various fake books, I developed my own standards in the pursuit of clarity and consistency. In that process, I developed a set of principles which underlie my formatting decisions:
Some practices that are common in modern published scores and fake books run counter to one or more of these principles, and so I’ve made a few decisions that challenge such practices. Following are my reasons for some choices:
I have avoided using parentheses except when I believe their lack could cause confusion. In most cases, parentheses are superfluous to accurate parsing of a chord symbol. Their indiscriminate use creates visual clutter. They make it more difficult for the eye to scan the symbol quickly and they cause the chord symbol to take up more horizontal space than it needs to. Instead of using parentheses, I indicate subservience of elements through consistent use of variations in size, weight, and placement.
This is probably the most controversial choice. I learned early on that the upper-case “M,” by itself, was not going to do the job, as I ran into colleagues who interpreted this as minor — the fact that M-for-major was common at the time in my theory textbooks notwithstanding. It is, incidentally, ubiquitous in older Brazilian fake books as well — albeit usually after the 7 to which it applies.
My objection to what has become the most common indicator MA — which seems to have been invented by Chuck Sher — is that it uses two characters when one will do. To make matters worse, the MA convention calls for using MI for minor — again requiring two characters when one will do. The older variant Maj — which calls for its companion min — is no better.
Why is it important to avoid using two characters when one will do? Two reasons:
A performer — especially when sight-reading — needs to see a chord symbol as a “chunk” of information, rather than a series of independent components. The more concise the symbol, the more easily that chunking is accomplished.
A good lead sheet or part is one whose format on the page is in accord with the form of the music: ends of phrases at the ends of systems, for example. Music that is harmonically dense — and even some music that is not dense overall — may have measures with as many as four or more chord changes. If chord symbols are unnecessarily long, they will force the composer/arranger away from an elegant placement of phrases.
The singular solution to this issue is “∆” — which is not so common these days, but never confused for anything other than “major.” It is easily accessed in Mac OS by typing Option+J, and apparently accessible in Windows OS with either Alt+X or an alt code.
Some have argued that the delta by itself implies major-7th, but I find that to be inconsistent with the use of “7” in a chord symbols generally. It also precludes the use of ∆9 in a consistent fashion. Nevertheless, nobody who interprets delta as implying major-7th should be confused by what, under that assumption, would be a redundant addition of the numeral 7 for the sake of clarity and consistency.
In my view, ∆ is the most elegant way to represent major, and with its adoption the use of the single character m for minor completes a matched pair.
I still believe that Ø7 is a more elegant representation of that sonority than is m7b5, but let’s face it: Finale has issues. In recent releases, any use of alt characters in lyrics or chord symbols causes an immediate crash. In Mac OS, “Ø” is accessed by typing Option+O. So I’ve given in to the modern popular preference for m7b5.
I have no objection to the dash for minor, but I find it no more concise or clear than the singular letter m. My eye prefers the letter in this case.
HOW TO IMPORT BERGERON CHORD SYMBOLS LIBRARY INTO A FINALE DOCUMENT
HOW TO EXTRACT BERGERON CHORD SYMBOLS FROM THE FINALE TEMPLATE
HOW TO ENTER CHORDS USING BERGERON CHORD SYMBOLS