1162:
1110:
909:
427:
1562:, the Roman numeral "I" in C major can signify a major chord, a minor chord, a seventh chord, or indeed many combinations of notes controlled by the root C. The same Roman numeral can also represent the governing harmonic function of an extended passage embracing several or many chords. In this system, therefore, one basic sign applies to all manifestations of a structural harmony, with figured-bass numerals and other symbols indicating inversions and deviations from the basic type. ... Roman numerals can be used less to indicate local detail and more broadly, and analytically, to denote harmonic function in either the major or the minor mode.
510:
22:
485:
646:, 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, G, 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
615:
122:
273:
263:
253:
464:
194:) (1817–21) is often credited with popularizing the method. More precisely, he introduced the usage of large capital numerals for major chords, small capitals for minor, superscript for diminished 5ths and dashed 7 for major sevenths – see the figure hereby. Simon Sechter, considered the founder of the Viennese "
741:
VI) are commonly used. These chords are all borrowed from the key of E minor. Similarly, in minor keys, chords from the parallel major may also be "borrowed". For example, in E minor, the diatonic chord built on the fourth scale degree is IVm, or A minor. However, in practice, many songs in E minor
590:
In the United
Kingdom, there exists another system where the Roman numerals are paired with Latin letters to denote inversion. In this system, an “a” suffix is used to represent root position, “b” for first inversion, and “c” for second inversion. However, the "a" is rarely used to denote root
448:, "ometimes it is necessary to indicate sharps, flats, or naturals above the bass note." The accidentals may be below the superscript and subscript number(s), before the superscript and subscript number(s), or using a slash (/) or plus sign (+) to indicate that the interval is raised (either
745:
Using the V7 or V chord (V dominant 7, or V major) is typical of most jazz and pop music regardless of whether the key is major or minor. Though the V chord is not diatonic to a minor scale, using it in a minor key is not usually considered "borrowing," given its prevalence in these styles.
521:, the Arabic numerals describing the characteristic interval(s) above the bass note of the chord, the figures 3 and 5 usually being omitted. The first inversion is denoted by the numeral 6 (e.g. I for the first inversion of the tonic triad, even though a complete figuring would require I
626:
548:). Inverted seventh chords are similarly denoted by one or two Arabic numerals describing the most characteristic intervals, namely the interval of a second between the 7th and the root: V is the dominant 7th (e.g. G–B–D–F); V
625:
1641:, vol. I. Berlin und Königsberg, Decker und Hartung, 1774, p. 15 and plates to p. 19. It is not entirely clear, however, whether Roman numerals in Kirnberger denote scale degrees or intervals (or both).
624:
2176:
38:
The chord progression vi–ii–V–I in the key of C major. Using lead sheet chord names, these chords could be referred to as A minor, D minor, G major and C major.
723:, "borrowing" of chords from the parallel minor of a major key is commonly done. As such, in these genres, in the key of E major, chords such as D major (or
125:
Gottfried Weber's description of the Roman numerals employed on each degree of the major and minor scales, triads at the left and sevenths at the right.
202:), made only a limited use of Roman numerals, always as capital letters, and often marked the fundamentals with letter notation or with Arabic numbers.
742:
will use IV (A major), which is borrowed from the key of E major. Borrowing from the parallel major in a minor key, however, is much less common.
627:
1564:
This method assumes fluent knowledge of chord quality in both modes, a skill we consider as fundamental as the recognition of key signatures
1988:
2182:
2444:
2365:
517:
Roman numerals are sometimes complemented by Arabic numerals to denote inversion of the chords. The system is similar to that of
1806:
1781:
1659:
2021:
1165:
1113:
912:
430:
25:
481:
often prefer the usage of large capital numbers for all degrees in all modes, in conformity with
Schenker's own usage.
93:
Roman numerals can be used to notate and analyze the harmonic progression of a composition independent of its specific
2172:
1954:
1847:
1751:
1729:
1595:
1981:
195:
133:
Roman numeral analysis is based on the idea that chords can be represented and named by one of their notes, their
2437:
1949:. Jazz Improvisation. Vol. 1 (Revised and Enlarged ed.). New York: Watson-Guptill. pp. 9–16.
2471:
1888:
281:
The basic Roman numeral analysis symbols commonly used in pedagogical texts are shown in the table below.
2358:
1974:
1161:
1109:
908:
426:
21:
165:
2465:
2334:
2081:
78:
Specific notation conventions vary: some theorists use uppercase numerals (e.g. I, IV, V) to represent
2534:
2430:
2086:
2482:
1704:, Leipzig, Breitkopf und Härtel, 3 vols., 1853–1854. Roman numerals are found in all three volumes.
662:
performers translate the Roman numerals to the specific chords that would be used in a given key.
2406:
2282:
2192:
2091:
1168:
1116:
915:
433:
366:
28:
2351:
2287:
2267:
2162:
233:
513:
Inversion notation for Roman numeral analysis depicting both Arabic numeral and Latin letters.
509:
2508:
2157:
1127:
The seventh scale degree is very often raised a half step to form a leading tone, making the
145:
article for more information). The system came about initially from the work and writings of
1746:. Vol. Part 1. London: Associated Board of the Royal Schools of Music. pp. 60–61.
2498:
2323:
2317:
2303:
2222:
2101:
2076:
1142:
478:
146:
1720:, E. Schwanzara ed., Wien, Ă–strereichischer Bundesverlag, 1950. See also Robert E. Wason,
8:
2262:
2247:
2212:
2142:
2044:
1674:
932:
1185:
2257:
2237:
2217:
2147:
2126:
2049:
2026:
471:
176:
of 1802 and employed Roman numeral analysis in several publications from 1806 onwards.
2374:
2493:
2277:
2252:
2167:
2121:
1997:
1950:
1843:
1821:
1802:
1777:
1747:
1725:
1655:
1634:
1618:
1591:
489:
272:
262:
252:
211:
207:
157:
2453:
2242:
2111:
2068:
1150:
794:
619:
463:
397:
342:
150:
138:
110:
98:
68:
2529:
2106:
2016:
1401:
387:
329:
179:
484:
2272:
2011:
1713:
1610:
1146:
1132:
1128:
647:
241:
237:
203:
64:
113:(V) chords built upon the first, fourth and fifth scale degrees respectively.
2523:
2503:
2476:
2390:
1796:
1310:
774:
716:
659:
609:
419:
87:
60:
56:
2227:
2115:
2031:
1942:
1488:
1439:
804:
643:
518:
229:
223:
142:
134:
44:
2385:
2313:
1863:
1363:
1267:
1233:
789:
760:
655:
422:
diatonic triads built on the notes of the C major scale are shown below.
316:
303:
156:
The earliest usage of Roman numerals may be found in the first volume of
106:
102:
94:
83:
79:
72:
1722:
Viennese
Harmonic Theory from Albrechtsberger to Schenker and Schoenberg
614:
2401:
2396:
2232:
1914:
Harmony, Melodic
Invention, Instruments of the Orchestra, Form in Music
799:
779:
720:
651:
639:
121:
1718:
Vorlesungen ĂĽber
Harmonielehre und Kontrapunkt an der Universität Wien
1691:, 3d Edition, Mainz, Schott, 1830–1832, vol. 2, pp. 44–63, §§ 151–158.
2187:
1966:
931:
The table below shows the Roman numerals for the chords built on the
635:
1622:
2422:
2308:
964:
86:. Others use uppercase numerals for all chords regardless of their
2152:
214:, apparently did not use Roman numerals in his classes in Vienna.
1771:
1154:
784:
759:
The table below shows the Roman numerals for chords built on the
600:
is rarely used to denote root position in
American nomenclature.
52:
2343:
240:
as well as the chords built on them. In some contexts, however,
1801:(4th ed.). Schirmer, Cengage Learning. pp. 696–697.
16:
Use of Roman numeral symbols in the musical analysis of chords
245:
1131:(V) a major chord (i.e. V major instead of v minor) and the
500:
of J. S. Bach's Sonata in C major for violin solo, BWV 1005.
1652:
Thinking about
Harmony: Historical Perspectives on Analysis
1797:
Edward
Aldwell; Carl Schachter; Allen Cadwallader (2011).
248:
are used to designate the scale degrees themselves (e.g.
1167:
Audio playback is not supported in your browser. You can
1115:
Audio playback is not supported in your browser. You can
914:
Audio playback is not supported in your browser. You can
693:
B becomes V (or simply V; often V or V in a jazz context)
432:
Audio playback is not supported in your browser. You can
82:, and lowercase numerals (e.g. ii, iii, vi) to represent
27:
Audio playback is not supported in your browser. You can
1105:
In the key of C minor (natural minor), these chords are
650:
performers to play the song in any key requested by the
1776:. Vol. I (seventh ed.). Boston: McGraw-Hill.
1828:, Stuttgart, Berlin, Cotta, 1906, p. 186, Example 151.
1767:
1765:
1763:
236:, Roman numerals are frequently used to designate
1689:Versuch einer geordneten Theorie der Tonsetzkunst
1184:In traditional notation, the triads of the seven
186:Versuch einer geordneten Theorie der Tonsetzkunst
127:Versuch einer geordneten Theorie der Tonsetzkunst
2521:
1760:
1157:resolution in the minor key, thus V to i minor.
1141:VII). This version of minor scale is called the
665:In the key of E major, the diatonic chords are:
1790:
2438:
2359:
1982:
1941:
1772:Bruce Benward; Marilyn Nadine Saker (2003).
1673:In Praise of Harmony: The Teachings of Abbé
1586:William G Andrews and Molly Sclater (2000).
184:
168:occasionally employed Roman numerals in his
1741:
1135:(vii), a diminished chord (vii, instead of
687:m becomes III (also III, III, IIIm, or III)
217:
2445:
2431:
2366:
2352:
1989:
1975:
1926:
1153:chord (V7) both available for a stronger
1837:
1662:. Cambridge University Press, 2008, p. 6
1042:
904:In the key of C major, these chords are
613:
603:
508:
483:
120:
1911:
1724:, Ann Arbor, UMI Research Press, 1982.
1606:
1604:
618:Roman numeral analysis of the standard
172:in 1778. He mentioned them also in his
2522:
1996:
1671:Floyd K. Grave and Margaret G. Grave,
702:m becomes VI (also VI, VI, VIm, or VI)
678:m becomes II (also II, II, IIm, or II)
2426:
2347:
1970:
1702:Die Richtige Folge der Grundharmonien
474:are indicated with a slash e.g. V/V.
2452:
1601:
690:A becomes IV (also IV, or simply IV)
539:denotes the second inversion (e.g. I
170:Grunde der Kuhrpfälzischen Tonschule
1886:
1735:
1145:. This enables composers to have a
711:becomes VII (also VII, VII, or VII)
13:
749:
14:
2546:
2373:
1588:Materials of Western Music Part 1
669:E becomes I (also I, or simply I)
418:The Roman numerals for the seven
1931:. Melbourne: Allans Educational.
622:
462:
271:
261:
251:
206:, who transmitted the theory to
1935:
1920:
1905:
1880:
1856:
1831:
1815:
1552:
232:related to or derived from the
1707:
1694:
1681:
1665:
1644:
1628:
1580:
1196:
926:
754:
97:. For example, the ubiquitous
1:
1947:Tonal and Rhythmic Principles
1774:Music: In Theory and Practice
1617:. New York: Harcourt, Brace.
1573:
504:
454:in a flat key signature or a
446:Music: In Theory and Practice
192:Theory of Musical Composition
1842:. London: Bell & Hyman.
1744:The AB Guide to Music Theory
1545:
1531:
1523:
1515:
1512:
1504:
1496:
1493:
1473:
1465:
1462:
1459:
1451:
1448:
1445:
1424:
1421:
1418:
1415:
1412:
1409:
1406:
1391:
1388:
1385:
1377:
1374:
1371:
1368:
1348:
1340:
1337:
1334:
1326:
1318:
1315:
1295:
1292:
1289:
1286:
1278:
1275:
1272:
1257:
1254:
1251:
1248:
1245:
1242:
1239:
1164:
1112:
1094:
1086:
1078:
1073:
1068:
1058:
1055:
1052:
1039:
1036:
1033:
1030:
1027:
1024:
1014:
1006:
998:
995:
992:
984:
981:
978:
911:
892:
889:
883:
880:
877:
874:
871:
861:
858:
855:
852:
849:
846:
843:
833:
830:
827:
824:
821:
818:
815:
557:is its first inversion (B–D–
429:
24:
7:
1912:Robson, Elsie May (1960s).
1639:Die Kunst des reinen Satzes
162:Die Kunst des reinen Satzes
63:, which encode the chord's
10:
2551:
2466:Essays in Musical Analysis
2335:List of chord progressions
1927:Spearritt, Gordon (1995).
1838:Lovelock, William (1981).
607:
583:or V its third inversion (
488:Roman numeral analysis by
468:in a sharp key signature.
444:In addition, according to
221:
174:Handbuch zur Harmonielehre
116:
2460:
2381:
2332:
2296:
2205:
2135:
2067:
2058:
2004:
1799:Harmony and Voice Leading
1635:Johann Philipp Kirnberger
375:
1179:
570:its second inversion (D–
218:Common practice numerals
166:Abbé Georg Joseph Vogler
2407:Nashville Number System
2193:Tadd Dameron turnaround
1169:download the audio file
1117:download the audio file
916:download the audio file
496:) in bars 13–15 of the
492:(1906) of the degrees (
434:download the audio file
313:Lowercase Roman numeral
300:Uppercase Roman numeral
29:download the audio file
2489:Roman numeral analysis
2412:Roman numeral analysis
2288:Montgomery-Ward bridge
2268:Royal road progression
2163:Montgomery-Ward bridge
1929:Essential Music Theory
1916:. Sydney: Nicholson's.
1840:The Rudiments of Music
644:jazz and popular music
631:
514:
501:
234:common practice period
185:
130:
49:Roman numeral analysis
2233:Borrowed (contrafact)
975:Conventional notation
812:Conventional notation
617:
604:Jazz and pop numerals
512:
487:
367:Figured bass notation
363:Two or more numbers()
196:Theory of the degrees
164:in 1774. Soon after,
124:
101:progression uses the
2499:Schenkerian analysis
2324:Irregular resolution
2102:Backdoor progression
1893:Music Theory Academy
1742:Eric Taylor (1989).
1558:As the symbol for a
1143:harmonic minor scale
1021:Alternative notation
840:Alternative notation
2472:Functional analysis
1868:www.musictheory.net
1675:Georg Joseph Vogler
1650:David Damschroder,
1188:are the following:
933:natural minor scale
59:are represented by
2258:Passamezzo moderno
2218:Andalusian cadence
2148:Andalusian cadence
2127:Passamezzo moderno
2027:Constant structure
1998:Chord progressions
1889:"Chord Inversions"
1887:Ben (2013-12-02).
735:III) and C major (
632:
591:position, just as
515:
502:
352:Superscript number
131:
2517:
2516:
2420:
2419:
2341:
2340:
2318:Pachelbel's Canon
2253:Passamezzo antico
2201:
2200:
2168:Passamezzo antico
2122:Sixteen-bar blues
2087:V–IV–I turnaround
2082:ii–V–I turnaround
1864:"musictheory.net"
1822:Heinrich Schenker
1808:978-0-495-18975-6
1783:978-0-07-294262-0
1687:Gottfried Weber,
1660:978-0-521-88814-1
1615:Harmonic Practice
1541:
1540:
1173:
1149:(V) and also the
1121:
1101:
1100:
920:
900:
899:
634:In music theory,
628:
490:Heinrich Schenker
438:
414:
413:
376:Superscript and
158:Johann Kirnberger
129:, vol. II, p. 45.
69:harmonic function
53:harmonic analysis
33:
2542:
2535:Musical analysis
2454:Musical analysis
2447:
2440:
2433:
2424:
2423:
2393:(macro analysis)
2368:
2361:
2354:
2345:
2344:
2273:"Rhythm" changes
2243:Coltrane changes
2143:'50s progression
2112:Twelve-bar blues
2096:
2095:
2065:
2064:
2040:
1991:
1984:
1977:
1968:
1967:
1961:
1960:
1939:
1933:
1932:
1924:
1918:
1917:
1909:
1903:
1902:
1900:
1899:
1884:
1878:
1877:
1875:
1874:
1860:
1854:
1853:
1835:
1829:
1819:
1813:
1812:
1794:
1788:
1787:
1769:
1758:
1757:
1739:
1733:
1711:
1705:
1698:
1692:
1685:
1679:
1669:
1663:
1648:
1642:
1632:
1626:
1608:
1599:
1584:
1567:
1556:
1536:
1535:
1528:
1527:
1520:
1519:
1509:
1508:
1501:
1500:
1478:
1477:
1470:
1469:
1456:
1455:
1429:
1428:
1382:
1381:
1353:
1352:
1345:
1344:
1331:
1330:
1323:
1322:
1300:
1299:
1283:
1282:
1198:
1193:
1192:
1151:dominant seventh
1140:
1139:
1091:
1090:
1083:
1082:
1063:
1062:
1011:
1010:
1003:
1002:
989:
988:
940:
939:
896:
887:
768:
767:
740:
739:
734:
733:
728:
727:
710:
709:
701:
700:
686:
685:
677:
676:
630:
629:
620:twelve-bar blues
599:
598:
582:
581:
569:
568:
556:
555:
547:
546:
538:
537:
530:); the numerals
529:
528:
472:Secondary chords
467:
466:
459:
458:
453:
452:
410:
409:
398:Second inversion
384:
383:
343:Diminished triad
286:
285:
276:
275:
266:
265:
256:
255:
188:
151:fundamental bass
99:twelve-bar blues
2550:
2549:
2545:
2544:
2543:
2541:
2540:
2539:
2520:
2519:
2518:
2513:
2456:
2451:
2421:
2416:
2377:
2372:
2342:
2337:
2328:
2304:Aeolian harmony
2292:
2197:
2131:
2107:Eight-bar blues
2093:
2092:
2060:
2054:
2039:(Roman-numeral)
2038:
2000:
1995:
1965:
1964:
1957:
1940:
1936:
1925:
1921:
1910:
1906:
1897:
1895:
1885:
1881:
1872:
1870:
1862:
1861:
1857:
1850:
1836:
1832:
1820:
1816:
1809:
1795:
1791:
1784:
1770:
1761:
1754:
1740:
1736:
1712:
1708:
1700:Simon Sechter,
1699:
1695:
1686:
1682:
1670:
1666:
1649:
1645:
1633:
1629:
1609:
1602:
1585:
1581:
1576:
1571:
1570:
1557:
1553:
1548:
1533:
1532:
1525:
1524:
1517:
1516:
1506:
1505:
1498:
1497:
1475:
1474:
1467:
1466:
1453:
1452:
1443:(natural minor)
1426:
1425:
1379:
1378:
1350:
1349:
1342:
1341:
1328:
1327:
1320:
1319:
1297:
1296:
1280:
1279:
1223:
1182:
1175:
1174:
1172:
1137:
1136:
1123:
1122:
1120:
1096:
1088:
1087:
1080:
1079:
1075:
1070:
1065:
1060:
1059:
1008:
1007:
1000:
999:
986:
985:
929:
922:
921:
919:
894:
885:
757:
752:
750:Diatonic scales
737:
736:
731:
730:
729:VII), G major (
725:
724:
707:
706:
698:
697:
683:
682:
674:
673:
623:
612:
606:
597:
594:
593:
592:
580:
577:
576:
575:
567:
564:
563:
562:
554:
551:
550:
549:
545:
542:
541:
540:
536:
533:
532:
531:
527:
524:
523:
522:
507:
461:
456:
455:
450:
449:
440:
439:
437:
408:
405:
404:
403:
388:First inversion
382:
379:
378:
377:
330:Augmented triad
277:
270:
267:
260:
257:
250:
242:Arabic numerals
226:
220:
180:Gottfried Weber
119:
71:within a given
41:
40:
39:
36:
35:
34:
32:
17:
12:
11:
5:
2548:
2538:
2537:
2532:
2515:
2514:
2512:
2511:
2506:
2501:
2496:
2491:
2486:
2483:Music Analysis
2479:
2474:
2469:
2461:
2458:
2457:
2450:
2449:
2442:
2435:
2427:
2418:
2417:
2415:
2414:
2409:
2404:
2399:
2394:
2388:
2382:
2379:
2378:
2371:
2370:
2363:
2356:
2348:
2339:
2338:
2333:
2330:
2329:
2327:
2326:
2321:
2311:
2306:
2300:
2298:
2294:
2293:
2291:
2290:
2285:
2280:
2275:
2270:
2265:
2260:
2255:
2250:
2245:
2240:
2235:
2230:
2228:"Bird" changes
2225:
2220:
2215:
2209:
2207:
2203:
2202:
2199:
2198:
2196:
2195:
2190:
2185:
2180:
2170:
2165:
2160:
2155:
2150:
2145:
2139:
2137:
2133:
2132:
2130:
2129:
2124:
2119:
2116:"Bird" changes
2109:
2104:
2099:
2089:
2084:
2079:
2073:
2071:
2062:
2056:
2055:
2053:
2052:
2047:
2042:
2034:
2029:
2024:
2019:
2014:
2008:
2006:
2002:
2001:
1994:
1993:
1986:
1979:
1971:
1963:
1962:
1955:
1934:
1919:
1904:
1879:
1855:
1848:
1830:
1814:
1807:
1789:
1782:
1759:
1752:
1734:
1714:Anton Bruckner
1706:
1693:
1680:
1664:
1643:
1627:
1611:Roger Sessions
1600:
1578:
1577:
1575:
1572:
1569:
1568:
1550:
1549:
1547:
1544:
1543:
1542:
1539:
1538:
1530:
1522:
1514:
1511:
1503:
1495:
1492:
1485:
1481:
1480:
1472:
1464:
1461:
1458:
1450:
1447:
1444:
1436:
1432:
1431:
1423:
1420:
1417:
1414:
1411:
1408:
1405:
1398:
1394:
1393:
1390:
1387:
1384:
1376:
1373:
1370:
1367:
1360:
1356:
1355:
1347:
1339:
1336:
1333:
1325:
1317:
1314:
1307:
1303:
1302:
1294:
1291:
1288:
1285:
1277:
1274:
1271:
1264:
1260:
1259:
1256:
1253:
1250:
1247:
1244:
1241:
1238:
1230:
1226:
1225:
1220:
1217:
1214:
1211:
1208:
1205:
1202:
1199:
1181:
1178:
1177:
1176:
1166:
1163:
1147:dominant chord
1133:subtonic chord
1129:dominant chord
1125:
1124:
1114:
1111:
1103:
1102:
1099:
1098:
1093:
1085:
1077:
1072:
1067:
1057:
1054:
1051:
1045:
1044:
1041:
1038:
1035:
1032:
1029:
1026:
1023:
1017:
1016:
1013:
1005:
997:
994:
991:
983:
980:
977:
971:
970:
967:
962:
959:
956:
953:
950:
947:
944:
928:
925:
924:
923:
913:
910:
902:
901:
898:
897:
891:
888:
882:
879:
876:
873:
870:
864:
863:
860:
857:
854:
851:
848:
845:
842:
836:
835:
832:
829:
826:
823:
820:
817:
814:
808:
807:
802:
797:
792:
787:
782:
777:
772:
756:
753:
751:
748:
713:
712:
703:
694:
691:
688:
679:
670:
648:rhythm section
642:aimed towards
608:Main article:
605:
602:
595:
578:
565:
552:
543:
534:
525:
506:
503:
442:
441:
431:
428:
416:
415:
412:
411:
406:
400:
394:
393:
390:
385:
380:
373:
372:
369:
364:
360:
359:
356:
353:
349:
348:
345:
340:
336:
335:
332:
327:
323:
322:
319:
314:
310:
309:
306:
301:
297:
296:
293:
290:
269:
259:
249:
219:
216:
204:Anton Bruckner
118:
115:
61:Roman numerals
37:
26:
23:
20:
19:
18:
15:
9:
6:
4:
3:
2:
2547:
2536:
2533:
2531:
2528:
2527:
2525:
2510:
2509:Transcription
2507:
2505:
2504:Sonata theory
2502:
2500:
2497:
2495:
2492:
2490:
2487:
2485:
2484:
2480:
2478:
2477:Chord letters
2475:
2473:
2470:
2468:
2467:
2463:
2462:
2459:
2455:
2448:
2443:
2441:
2436:
2434:
2429:
2428:
2425:
2413:
2410:
2408:
2405:
2403:
2400:
2398:
2395:
2392:
2391:Chord letters
2389:
2387:
2384:
2383:
2380:
2376:
2375:Chord symbols
2369:
2364:
2362:
2357:
2355:
2350:
2349:
2346:
2336:
2331:
2325:
2322:
2319:
2315:
2312:
2310:
2307:
2305:
2302:
2301:
2299:
2295:
2289:
2286:
2284:
2281:
2279:
2276:
2274:
2271:
2269:
2266:
2264:
2261:
2259:
2256:
2254:
2251:
2249:
2246:
2244:
2241:
2239:
2236:
2234:
2231:
2229:
2226:
2224:
2221:
2219:
2216:
2214:
2211:
2210:
2208:
2204:
2194:
2191:
2189:
2186:
2184:
2181:
2178:
2174:
2171:
2169:
2166:
2164:
2161:
2159:
2156:
2154:
2151:
2149:
2146:
2144:
2141:
2140:
2138:
2134:
2128:
2125:
2123:
2120:
2117:
2113:
2110:
2108:
2105:
2103:
2100:
2098:
2097:VII–V cadence
2090:
2088:
2085:
2083:
2080:
2078:
2075:
2074:
2072:
2070:
2066:
2063:
2057:
2051:
2048:
2046:
2045:Rewrite rules
2043:
2041:
2035:
2033:
2030:
2028:
2025:
2023:
2020:
2018:
2015:
2013:
2010:
2009:
2007:
2003:
1999:
1992:
1987:
1985:
1980:
1978:
1973:
1972:
1969:
1958:
1956:0-8230-2559-4
1952:
1948:
1944:
1938:
1930:
1923:
1915:
1908:
1894:
1890:
1883:
1869:
1865:
1859:
1851:
1849:0-7135-0744-6
1845:
1841:
1834:
1827:
1826:Harmonielehre
1823:
1818:
1810:
1804:
1800:
1793:
1785:
1779:
1775:
1768:
1766:
1764:
1755:
1753:1-85472-446-0
1749:
1745:
1738:
1731:
1730:0-8357-1586-8
1727:
1723:
1719:
1715:
1710:
1703:
1697:
1690:
1684:
1677:
1676:
1668:
1661:
1657:
1653:
1647:
1640:
1636:
1631:
1624:
1620:
1616:
1612:
1607:
1605:
1597:
1596:1-55122-034-2
1593:
1589:
1583:
1579:
1565:
1561:
1555:
1551:
1491:
1490:
1486:
1483:
1482:
1442:
1441:
1437:
1434:
1433:
1404:
1403:
1399:
1396:
1395:
1366:
1365:
1361:
1358:
1357:
1313:
1312:
1308:
1305:
1304:
1270:
1269:
1265:
1262:
1261:
1236:
1235:
1231:
1228:
1227:
1224:Leading tone
1221:
1218:
1215:
1212:
1209:
1206:
1203:
1200:
1195:
1194:
1191:
1190:
1189:
1187:
1170:
1160:
1159:
1158:
1156:
1152:
1148:
1144:
1134:
1130:
1118:
1108:
1107:
1106:
1050:
1047:
1046:
1022:
1019:
1018:
976:
973:
972:
969:Leading tone
968:
966:
963:
960:
957:
954:
951:
948:
945:
942:
941:
938:
937:
936:
934:
917:
907:
906:
905:
869:
866:
865:
841:
838:
837:
813:
810:
809:
806:
803:
801:
798:
796:
793:
791:
788:
786:
783:
781:
778:
776:
773:
770:
769:
766:
765:
764:
762:
747:
743:
722:
718:
717:popular music
704:
695:
692:
689:
680:
671:
668:
667:
666:
663:
661:
660:accompaniment
657:
653:
649:
645:
641:
637:
621:
616:
611:
610:Universal key
601:
588:
586:
573:
560:
520:
511:
499:
498:Allegro assai
495:
491:
486:
482:
480:
475:
473:
469:
465:
447:
435:
425:
424:
423:
421:
420:root-position
401:
399:
396:
395:
391:
389:
386:
374:
370:
368:
365:
362:
361:
357:
354:
351:
350:
346:
344:
341:
338:
337:
333:
331:
328:
325:
324:
320:
318:
315:
312:
311:
307:
305:
302:
299:
298:
294:
291:
288:
287:
284:
283:
282:
279:
274:
264:
254:
247:
243:
239:
238:scale degrees
235:
231:
225:
215:
213:
209:
205:
201:
200:Stufentheorie
197:
193:
189:
187:
181:
177:
175:
171:
167:
163:
159:
154:
152:
148:
144:
140:
136:
128:
123:
114:
112:
108:
104:
100:
96:
91:
89:
85:
81:
76:
74:
70:
66:
62:
58:
54:
51:is a type of
50:
46:
30:
2488:
2481:
2464:
2411:
2283:Tadd-Dameron
2036:
2032:Double tonic
1946:
1943:John Mehegan
1937:
1928:
1922:
1913:
1907:
1896:. Retrieved
1892:
1882:
1871:. Retrieved
1867:
1858:
1839:
1833:
1825:
1817:
1798:
1792:
1773:
1743:
1737:
1732:. pp. 67–84.
1721:
1717:
1709:
1701:
1696:
1688:
1683:
1672:
1667:
1651:
1646:
1638:
1630:
1614:
1587:
1582:
1563:
1559:
1554:
1487:
1438:
1400:
1362:
1309:
1266:
1232:
1186:modern modes
1183:
1126:
1104:
1066:(or III Maj)
1049:Chord symbol
1048:
1020:
974:
943:Scale degree
930:
903:
868:Chord symbol
867:
839:
811:
805:Leading tone
771:Scale degree
758:
744:
714:
664:
633:
589:
584:
571:
558:
519:Figured bass
516:
497:
493:
479:Schenkerians
476:
470:
445:
443:
417:
339:Superscript
326:Superscript
280:
230:music theory
227:
224:Figured bass
199:
191:
183:
178:
173:
169:
161:
155:
143:Root (chord)
132:
126:
92:
84:minor chords
80:major chords
77:
48:
45:music theory
42:
2386:Chord chart
2314:Ground bass
2183:IV–V–iii–vi
2005:Terminology
1213:Subdominant
1071:(or IV Maj)
955:Subdominant
927:Minor scale
790:Subdominant
761:major scale
755:Major scale
656:lead singer
640:lead sheets
317:Minor triad
304:Major triad
107:subdominant
73:musical key
2524:Categories
2402:Lead sheet
2397:Jazz chord
2050:Turnaround
1898:2020-12-06
1873:2020-11-29
1590:, p. 227.
1574:References
1402:Mixolydian
1222:Subtonic /
1219:Submediant
1207:Supertonic
961:Submediant
949:Supertonic
800:Submediant
780:Supertonic
721:rock music
652:bandleader
636:fake books
574:–B); and V
505:Inversions
355:Added note
222:See also:
208:Schoenberg
2494:Reduction
2188:Romanesca
2173:I–V–vi–IV
2158:vi–ii–V–I
2061:of chords
2059:By number
2037:Notation
1546:Footnotes
1097:(or VII)
295:Examples
55:in which
2309:Chaconne
2223:Backdoor
2094:♭
2077:I–IV–V–I
1945:(1989).
1613:(1951).
1534:♭
1526:♭
1518:♭
1507:♭
1499:♭
1476:♭
1468:♭
1454:♭
1427:♭
1380:♯
1351:♭
1343:♭
1329:♭
1321:♭
1311:Phrygian
1298:♭
1281:♭
1216:Dominant
1138:♭
1089:♭
1081:♭
1061:♭
1009:♭
1001:♭
987:♭
965:Subtonic
958:Dominant
895:(or VII)
893:VII dim
795:Dominant
738:♭
732:♭
726:♭
708:♯
699:♯
684:♯
675:♯
457:♯
451:♮
278:, ...).
212:Schenker
111:dominant
109:IV, and
2297:Related
2263:Ragtime
2248:Omnibus
2206:By name
2114: (
2022:Changes
2017:Cadence
1625:. p. 7.
1623:51-8476
1489:Locrian
1440:Aeolian
1237:(major)
1210:Mediant
1155:cadence
1095:VII dim
1092:VII Maj
1064:III Aug
952:Mediant
878:III min
785:Mediant
587:–B–D).
477:Modern
292:Meaning
141:of the
139:History
117:History
88:quality
2530:Chords
2238:Circle
2012:Bridge
1953:
1846:
1805:
1780:
1750:
1728:
1658:
1621:
1594:
1364:Lydian
1268:Dorian
1234:Ionian
1084:VI Maj
1076:(or V)
1069:IV min
1056:II dim
890:VI min
886:(or V)
884:V Maj
881:IV Maj
875:II min
658:. The
494:Stufen
289:Symbol
246:carets
147:Rameau
65:degree
57:chords
2278:Stomp
2153:FolĂa
2069:Three
1560:Stufe
1204:Tonic
1180:Modes
1074:V min
1053:I min
946:Tonic
872:I Maj
775:Tonic
244:with
137:(see
105:(I),
103:tonic
2177:list
2136:Four
1951:ISBN
1844:ISBN
1803:ISBN
1778:ISBN
1748:ISBN
1726:ISBN
1656:ISBN
1619:LCCN
1592:ISBN
1537:vii
1479:VII
1430:VII
1392:vii
1354:vii
1301:VII
1258:vii
1201:Mode
1043:vii
1015:vii
862:VII
834:vii
719:and
638:and
561:); V
210:and
135:root
67:and
2213:50s
1510:iii
1457:III
1413:iii
1375:iii
1332:III
1284:III
1246:iii
1197:No.
1031:iii
1012:VII
990:III
850:III
822:iii
715:In
654:or
585:F–G
572:F–G
559:F–G
460:or
228:In
198:" (
182:'s
160:'s
149:'s
95:key
43:In
2526::
1891:.
1866:.
1824:,
1762:^
1716:,
1654:.
1637:,
1603:^
1529:VI
1513:iv
1502:II
1471:VI
1460:iv
1449:ii
1422:vi
1416:IV
1410:ii
1389:vi
1383:iv
1372:II
1346:VI
1335:iv
1324:II
1293:vi
1287:IV
1276:ii
1255:vi
1249:IV
1243:ii
1040:vi
1034:iv
1028:ii
1004:VI
993:iv
982:ii
935:.
859:VI
853:IV
847:II
831:vi
825:IV
819:ii
763:.
392:I
371:V
358:V
347:i
334:I
321:i
308:I
268:,
258:,
153:.
90:.
75:.
47:,
2446:e
2439:t
2432:v
2367:e
2360:t
2353:v
2320:)
2316:(
2179:)
2175:(
2118:)
1990:e
1983:t
1976:v
1959:.
1901:.
1876:.
1852:.
1811:.
1786:.
1756:.
1678:.
1598:.
1566:.
1521:V
1494:i
1484:7
1463:v
1446:i
1435:6
1419:v
1407:I
1397:5
1386:V
1369:I
1359:4
1338:v
1316:i
1306:3
1290:v
1273:i
1263:2
1252:V
1240:I
1229:1
1171:.
1119:.
1037:v
1025:i
996:v
979:i
918:.
856:V
844:I
828:V
816:I
705:D
696:C
681:G
672:F
596:3
579:2
566:3
553:5
544:4
535:4
526:3
436:.
407:4
402:I
381:#
190:(
31:.
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