In order to read chord symbols quickly, you'll need a method which takes a chord and turns it into a set of ai's, it's important because right now music notation is not written in anchor interval notation and thus if we want to use our system we will have to convert it.

The first step in order to do this is to first know what each of the different qualities defines, so for example if someone says dim 7 chord you should know that represent the relative interval collection of 0 3 6 9 or that dom 7 b9 is 0 4 7 10 1.

As a reference you can see the following table which stores all this information

Chord Symbol | Steps above X |
---|---|

X | 0 4 7 |

X+ | 0 4 8 |

Xo | 0 3 6 |

X- | 0 3 7 |

X^7 | 0 4 7 11 |

X-7 | 0 3 7 10 |

X-7b5 | 0 3 6 10 |

Xo7 | 0 3 6 9 |

X6 | 0 4 7 9 |

X7 | 0 4 7 10 |

X9 | 0 4 7 10 2 |

X11 | 0 4 7 10 2 5 |

X13 | 0 4 7 10 2 5 9 |

X(...)sus2 | ... 2 (replacing 3) |

X(...)sus | ... 5 (replacing 4 or 3) |

X(...)b5 | ... 6 |

X(...)#5 | ... 8 |

X(...)9 | ... 2 |

X(...)b9 | ... 1 |

X(..)11 | ... 5 |

X(..)#11 | ... 6 |

X(...)b13 | ... 8 |

X(...)alt | ... 1 8 6 |

If we consider D#maj7#11 then first we can unravel the maj7 part which defines 0 4 7 11, then the #11 which gives us 6, since it is one step away from the 7, playing both the 7 and 6 will add a lot of dissonance, although that might be something you are looking for.

In general if there is an added note or alteration (like #11) on a chord then if it is at least two spaces away from all neighboring intervals you can usually add that interval in rather than replacing as it won't cause any unexpected dissonance.

If we recall from before we know that a chord specifies a root note and intervals above that root note (which define the quality). If we're in the anchor system then we would also have an anchor note, and so the notes involved in that chord would have their own anchor intervals.

In order to figure out these anchor intervals of the notes in a chord we'll take an example. Let's assume that our anchor note is 5* and then we're looking at a A#maj7 chord, we know that A# is 10*, since maj7 defines 0 4 7 11 above 10* so to compute those notes we would do (10 + 0)* (10 + 4)* (10 + 7)* (10 + 11)* which is really just 10* 2* 5* 9*.

Now since our anchor note is 5* then in order to figure out the anchor intervals of the notes of the chord we just have to subtract 5 from each, which gives us 5 9 0 4.

If we think about what just happened here, we first stacked the relative intervals onto the note 10*, and then subtracted the anchor note 5*.

If we think about both operations that were done we first did (10 + 0)* (10 + 4)* (10 + 7)* (10 + 11)* and then (10 + 0 - 5)* (10 + 4 - 5)* (10 + 7 - 5)* (10 + 11 - 5)* which is the same as (I(5, 10) + 0) (I(5, 10) + 4) (I(5, 10) + 7) (I(5, 10) + 11).

Note: I(5, 10) is the anchor interval of 10* with respect to 5*.

Thus as a general process we see A#maj7, we take A# and we find it's anchor interval with respect to F (5*) which turns out to be 5, now we take 0 4 7 11 and "stack" it onto 5 which produces 5 + 0, 5 + 4, 5 + 7, 5 + 11 which is really 5 9 0 4 (I used the small representation to do that quickly).

Notice how this process also produced the same numbers as our original method we were able to reduce it down to mainly one step rather than a large addition then subtraction. Finally as a list it is

- You have an anchor note of A* and you see the chord C*(...)
- Figure out the anchor interval of C* which is I(A*, C*)
- Now figure out the relative intervals involved with (...) lets say they are X1 X2 X3 X4, now stack these onto the anchor interval of C*, each of these produces the anchor interval of the note produced by C* + XY as we've seen above, when you stack you should use the small representation to minimize movement.