no, these are chord progressions using standard notation in jazz lead sheets. they both show a version of a very common and foundational progression called a "two five one" or ii-V-I.
the first shows this progression in the key of F minor (really, F melodic minor if you want to get into it).
the second describes this progression in roman numeral scale degrees, useful for transcribing this progression to any key.
either are going to be pretty much second nature for all players except for those at the beginning stages of their playing.
ø = half-diminished, or m7b5, comprised of scale degrees 1, b3, b5, b7
-∆ = minor-major, or mM, comprised of scale degrees 1, b3, 5, 7
alt = altered, or altered dominant. this type of harmony is ubiquitous in jazz since the 60s. one of the most straightforward ways to look at this is through melodic minor scale modal theory. the "locrian" scale in this mode, or mode built on the seventh note in the (ascending version of this) scale, gives scale degrees:
1, b2, b3, 3, b5, b6, b7
or, in the language of the upper structures used in jazz:
1, b9, #9, 3, #11, b13, b7
note the presence of the 3rd and the flattened 7th - these are the core elements of a dominant chord. all of these other notes, with the exception of the root, are "altered" e.g. raised or lowered by a half step from their original position, relative to the major scale.
this mode is often referred to as the "super locrian" mode.
there are dozens of options for voicing an altered dominant chord, "alt" is very general notation. when a player sees this, the context, their ear, their experience, whatever other information there is in the song, will inform what they actually play. at this point is where getting into some listening would be quite helpful!
the first shows this progression in the key of F minor (really, F melodic minor if you want to get into it).
the second describes this progression in roman numeral scale degrees, useful for transcribing this progression to any key.
either are going to be pretty much second nature for all players except for those at the beginning stages of their playing.
ø = half-diminished, or m7b5, comprised of scale degrees 1, b3, b5, b7
-∆ = minor-major, or mM, comprised of scale degrees 1, b3, 5, 7
alt = altered, or altered dominant. this type of harmony is ubiquitous in jazz since the 60s. one of the most straightforward ways to look at this is through melodic minor scale modal theory. the "locrian" scale in this mode, or mode built on the seventh note in the (ascending version of this) scale, gives scale degrees:
1, b2, b3, 3, b5, b6, b7
or, in the language of the upper structures used in jazz:
1, b9, #9, 3, #11, b13, b7
note the presence of the 3rd and the flattened 7th - these are the core elements of a dominant chord. all of these other notes, with the exception of the root, are "altered" e.g. raised or lowered by a half step from their original position, relative to the major scale.
this mode is often referred to as the "super locrian" mode.
there are dozens of options for voicing an altered dominant chord, "alt" is very general notation. when a player sees this, the context, their ear, their experience, whatever other information there is in the song, will inform what they actually play. at this point is where getting into some listening would be quite helpful!