Roman numeral analysis - Wikipedia

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Roman numeral analysis

From Wikipedia, the free encyclopedia

In music, Roman numeral analysis uses

Roman numerals to represent chords. The
Roman numerals (I, II, III, IV, ...) denote scale
degrees (first, second, third, fourth, ...); used
Root position triads of the C major scale with Roman
to represent a chord, they denote the root note
on which the chord is built. For instance, III
numerals.[1] Play
denotes the third degree of a scale or the
chord built on it. Generally, uppercase Roman
numerals (such as I, IV, V) represent major
chords while lowercase Roman numerals
(such as i, iv, v) represent minor chords (see
Major and Minor below for alternative
Root position triads of the C natural minor scale with
notations); elsewhere, upper-case Roman
Roman numerals. Play
[2]
numerals are used for all chords. In
Western classical music in the 2000s, Roman
numeral analysis is used by music students and music theorists to analyze the harmony of a song or
piece.
In the most common day-to-day use in pop, rock, traditional music, and jazz and blues, Roman
numerals notate the progression of chords in a song. For instance, the standard twelve bar blues
progression is I (first), IV (fourth), V (fifth), sometimes written I7, IV7, V7, since the blues
progression is often based on dominant seventh chords. In the key of C (where the notes of the
scale are C, D, E, F, G, A, B), the first scale degree (Tonic) is C, the fourth (Subdominant) is F, and
the fifth (Dominant) is a G. So the I7, IV7, and V7 chords are C7, F7, and G7. In the same
progression in the key of A (A, B, C, D, E, F, G), the I7, IV7, and V7 chords would be A7, D7,
and E7. Roman numerals thus abstract chord progressions, making them independent of the key, so
can easily be transposed.

Contents
1 Overview
2 Common practice numerals
3 Jazz and pop numerals
3.1 Major
3.2 Minor
4 Sources

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Overview
Roman numeral analysis is the use of Roman numeral symbols in the musical analysis of chords.
In music theory related to or derived from the common practice period, Roman numerals are
frequently used to designate scale degrees as well as the chords built on them.[2] In some contexts,
arabic numerals with carets are used to designate scale degrees ( ); theory related to or derived
from jazz or modern popular music may use Roman numerals or arabic numbers (1, 2, 3, etc...) to
represent scale degrees (See also diatonic function). In some contexts an arabic number, or careted
number, may refer also to a chord built upon that scale degree. For example, or 1 may both refer
to the chord upon the first scale step.
Gottfried Weber's Versuch einer geordneten Theorie der Tonsetzkunst (Theory of Musical
Composition) (Mainz, B. Schott, 181721) is credited with popularizing the analytical method by
which a chord is identified by the Roman numeral of the scale-degree number of its root. However,
the practice originated in the works of Abb Georg Joseph Vogler, whose theoretical works as early
as 1776 employed Roman numeral analysis.[3]

Common practice numerals

Roman numeral
analysis
symbols[4][5]
Symbol
Uppercase Roman
numeral
Lowercase Roman
numeral

Meaning

Examples

Major triad

Minor triad

Superscript o

Diminished
triad

io

Superscript +
(sometimes x)

Augmented
triad

I+

Superscript number added note

V7, I6

Two or more
numbers

V4-3, I4
(equivalent to
Ic)

Types of triads:

I,

i,

io ,

I+

Lowercase b
Lowercase c

figured bass
notation
First
inversion
Second
inversion

Ib
Ic

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Lowercase d

https://en.wikipedia.org/wiki/Roman_numeral_analysis

Third
inversion

V7d

The current system used today to study and analyze tonal music comes about initially from the
work and writings of Rameaus fundamental bass. The dissemination of Rameaus concepts could
only have come about during the significant waning of the study of harmony for the purpose of the
basso continuo and its implied improvisational properties in the later 18th century. The use of
Roman numerals in describing fundamentals as scale degrees in relation to a tonic was brought
about, according to one historian, by John Trydells Two Essays on the Theory and Practice of
Music, published in Dublin in 1766.[6] However, another source says that Trydell used Arabic
numerals for this purpose, and Roman numerals were only later substituted by Georg Joseph
Vogler.[7] Alternatives include the functional hybrid Nashville number system[8] and macro
analysis.

Jazz and pop numerals

In music theory, fake books and lead sheets aimed towards jazz and popular music, many tunes and
songs are written in a key, and as such for all chords, a letter name and symbols are given for all
triads (e.g., C, G7, Dm, etc.). In some fake books and lead sheets, all triads may be represented by
upper case numerals, followed by a symbol to indicate if it is not a major chord (e.g. "m" for minor
or "" for half-diminished or "7" for a seventh chord). An upper case numeral that is not followed
by a symbol is understood as a major chord. The use of Roman numerals enables the rhythm
section performers to play the song in any key requested by the bandleader or lead singer. The
accompaniment performers translate the Roman numerals to the specific chords that would be used
in a given key.
In the key of E major, the diatonic chords are:
E7 becomes I7 (or simply I)
Fm7 becomes ii7 (or simply ii)
Gm7 becomes iii7 (or simply iii)
A7 becomes IV7 (or simply IV)
B7 becomes V7 (or simply V)
Cm7 becomes vi7 (or simply vi)
D7 becomes vii7 (or simply vii)
In popular music and rock music, "borrowing" of chords from the tonic minor of a key into the
tonic major and vice versa is commonly done. As such, in these genres, in the key of E major,
chords such as D major (or VII), G major (III) and C major (VI) are commonly used. These
chords are all borrowed from the key of E minor. As well, in minor keys, chords from the tonic
major may also be "borrowed". For example, in E minor, the diatonic chords for the iv and v chord
would be A minor and B minor; in practice, many songs in E minor will use IV and V chords (A

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major and B major), which are "borrowed" from the key of E major.

Major
Scale degree
(major mode)

Tonic Supertonic Mediant Subdominant Dominant

Submediant

Leading
tone

Traditional
notation

ii

iii

IV

vi

viio

Alternative
notation

II

III

IV

VI

VII[9]

II min

III min

IV Maj

V Maj (or
V7)

VI min

VII dim (or

VIIo)

Chord symbol I Maj

Minor
Scale
degree
(minor
mode)

Tonic Supertonic Mediant Subdominant Dominant Submediant Subtonic

Traditional
notation

iio

III

iv

VI

Alternative
notation

ii

iii

iv

vi

II dim

III
Aug (or
III Maj)

IV min (or
IV Maj)

V Maj (or
V7)

Chord
symbol

I min

VI Maj

Leading
tone

viio

VII
vii
VII
Maj

VII dim
(or
VIIo)

Sources
1. Jonas, Oswald (1982). Introduction to the Theory of Heinrich Schenker (1934: Das Wesen des
musikalischen Kunstwerks: Eine Einfhrung in Die Lehre Heinrich Schenkers), p.22. Trans. John
Rothgeb. ISBN 0-582-28227-6. Shown all uppercase.
2. Sessions, Roger (1951). Harmonic Practice. New York: Harcourt, Brace. LCCN 51008476. p. 7.
3. Floyd Kersey Grave and Margaret G. Grave, In Praise of Harmony: The Teachings of Abb Georg
Joseph Vogler (1988).
4. Bruce Benward & Marilyn Nadine Saker (2003), Music: In Theory and Practice, seventh edition, 2 vols.
(Boston: McGraw-Hill) Vol. I, p. 71. ISBN 978-0-07-294262-0.
5. Taylor, Eric (1989). The AB Guide to Music Theory, Part 1. London: Associated Board of the Royal
Schools of Music. ISBN 1-85472-446-0. pp. 6061.
6. Dahlhaus, Carl. "Harmony." Grove Online Music Dictionary

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7. Richard Cohn, "Harmony 6. Practice". The New Grove Dictionary of Music and Musicians, second
edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001).
8. Gorow, Ron (2002). Hearing and Writing Music: Professional Training for Today's Musician, second
edition (Studio City, California: September Publishing, 2002), p. 251. ISBN 0-9629496-7-1.
9. Mehegan, John (1989). Jazz Improvisation 1: Tonal and Rhythmic Principles (Revised and Enlarged
Edition) (New York: Watson-Guptill Publications, 1989), pp. 9-16. ISBN 0-8230-2559-4.

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