1173:
1121:
920:
438:
1573:, 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.
521:
33:
657:, 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
496:
626:
133:
284:
274:
264:
475:
205:) (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 "
752:
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
601:
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
459:, "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
756:
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.
532:, 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
559:). 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
2187:
1652:, 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).
637:
2193:
49:
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.
1999:
734:, "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
636:
2455:
136:
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.
213:), made only a limited use of Roman numerals, always as capital letters, and often marked the fundamentals with letter notation or with Arabic numbers.
2376:
753:
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.
1817:
1792:
1670:
1575:
This method assumes fluent knowledge of chord quality in both modes, a skill we consider as fundamental as the recognition of key signatures
2183:
2032:
1965:
1858:
1762:
1740:
1606:
1992:
528:
Roman numerals are sometimes complemented by Arabic numerals to denote inversion of the chords. The system is similar to that of
2448:
1176:
1124:
923:
441:
36:
2482:
492:
often prefer the usage of large capital numbers for all degrees in all modes, in conformity with
Schenker's own usage.
104:
Roman numerals can be used to notate and analyze the harmonic progression of a composition independent of its specific
2369:
2092:
1985:
176:
2097:
2476:
2345:
638:
520:
144:
Roman numeral analysis is based on the idea that chords can be represented and named by one of their notes, their
2545:
2441:
2493:
2102:
2417:
2293:
2203:
2168:
1960:. Jazz Improvisation. Vol. 1 (Revised and Enlarged ed.). New York: Watson-Guptill. pp. 9–16.
1899:
292:
The basic Roman numeral analysis symbols commonly used in pedagogical texts are shown in the table below.
2362:
2298:
2278:
2173:
244:
2087:
2519:
89:
Specific notation conventions vary: some theorists use uppercase numerals (e.g. I, IV, V) to represent
2509:
2334:
2328:
2233:
2112:
1153:
489:
157:
2273:
2258:
2223:
2153:
2055:
1715:, Leipzig, Breitkopf und Härtel, 3 vols., 1853–1854. Roman numerals are found in all three volumes.
1685:
943:
673:
performers translate the Roman numerals to the specific chords that would be used in a given key.
2268:
2248:
2228:
2158:
2137:
2060:
2037:
1179:
1127:
926:
482:
444:
39:
495:
283:
273:
263:
2504:
2288:
2263:
2178:
2132:
2008:
1961:
1854:
1832:
1813:
1788:
1758:
1736:
1666:
1645:
1629:
1602:
524:
Inversion notation for Roman numeral analysis depicting both Arabic numeral and Latin letters.
500:
222:
218:
168:
1138:
The seventh scale degree is very often raised a half step to form a leading tone, making the
474:
156:
article for more information). The system came about initially from the work and writings of
2464:
2253:
2122:
2079:
1757:. Vol. Part 1. London: Associated Board of the Royal Schools of Music. pp. 60–61.
1161:
805:
630:
408:
353:
206:
161:
121:
109:
79:
17:
2540:
2117:
2027:
1731:, E. Schwanzara ed., Wien, Ă–strereichischer Bundesverlag, 1950. See also Robert E. Wason,
1412:
398:
340:
190:
2283:
2022:
1724:
1621:
1157:
1143:
1139:
658:
252:
248:
214:
187:
of 1802 and employed Roman numeral analysis in several publications from 1806 onwards.
75:
625:
2534:
2514:
2487:
2401:
2385:
1321:
785:
727:
670:
620:
430:
98:
71:
67:
132:
2314:
2238:
2126:
2042:
1953:
1499:
1450:
1196:
815:
654:
529:
377:
240:
234:
153:
149:
145:
55:
635:
2396:
2324:
1374:
1278:
1244:
800:
771:
666:
327:
314:
117:
113:
105:
94:
90:
83:
2412:
2407:
2243:
810:
790:
731:
662:
650:
124:(V) chords built upon the first, fourth and fifth scale degrees respectively.
2198:
646:
2319:
2163:
1874:
975:
433:
diatonic triads built on the notes of the C major scale are shown below.
167:
The earliest usage of Roman numerals may be found in the first volume of
1733:
Viennese
Harmonic Theory from Albrechtsberger to Schenker and Schoenberg
1925:
Harmony, Melodic
Invention, Instruments of the Orchestra, Form in Music
1165:
795:
63:
1729:
Vorlesungen ĂĽber
Harmonielehre und Kontrapunkt an der Universität Wien
1702:, 3d Edition, Mainz, Schott, 1830–1832, vol. 2, pp. 44–63, §§ 151–158.
1977:
942:
The table below shows the Roman numerals for the chords built on the
1633:
2433:
97:. Others use uppercase numerals for all chords regardless of their
494:
256:
225:, apparently did not use Roman numerals in his classes in Vienna.
131:
770:
The table below shows the Roman numerals for chords built on the
611:
is rarely used to denote root position in
American nomenclature.
2354:
251:
as well as the chords built on them. In some contexts, however,
2437:
2358:
1981:
1812:(4th ed.). Schirmer, Cengage Learning. pp. 696–697.
27:
Use of Roman numeral symbols in the musical analysis of chords
1142:(V) a major chord (i.e. V major instead of v minor) and the
511:
of J. S. Bach's Sonata in C major for violin solo, BWV 1005.
1663:
Thinking about
Harmony: Historical Perspectives on Analysis
1808:
Edward
Aldwell; Carl Schachter; Allen Cadwallader (2011).
259:
are used to designate the scale degrees themselves (e.g.
1178:
Audio playback is not supported in your browser. You can
1126:
Audio playback is not supported in your browser. You can
925:
Audio playback is not supported in your browser. You can
704:
B becomes V (or simply V; often V or V in a jazz context)
443:
Audio playback is not supported in your browser. You can
93:, and lowercase numerals (e.g. ii, iii, vi) to represent
38:
Audio playback is not supported in your browser. You can
1116:
In the key of C minor (natural minor), these chords are
661:
performers to play the song in any key requested by the
1787:. Vol. I (seventh ed.). Boston: McGraw-Hill.
1839:, Stuttgart, Berlin, Cotta, 1906, p. 186, Example 151.
2307:
2216:
2146:
2078:
2069:
2015:
1778:
1776:
1774:
247:, Roman numerals are frequently used to designate
1700:Versuch einer geordneten Theorie der Tonsetzkunst
1195:In traditional notation, the triads of the seven
197:Versuch einer geordneten Theorie der Tonsetzkunst
138:Versuch einer geordneten Theorie der Tonsetzkunst
1168:resolution in the minor key, thus V to i minor.
1152:VII). This version of minor scale is called the
676:In the key of E major, the diatonic chords are:
2449:
2370:
1993:
8:
1783:Bruce Benward; Marilyn Nadine Saker (2003).
1684:In Praise of Harmony: The Teachings of Abbé
1597:William G Andrews and Molly Sclater (2000).
195:
179:occasionally employed Roman numerals in his
1146:(vii), a diminished chord (vii, instead of
698:m becomes III (also III, III, IIIm, or III)
2456:
2442:
2434:
2377:
2363:
2355:
2075:
2000:
1986:
1978:
1164:chord (V7) both available for a stronger
1673:. Cambridge University Press, 2008, p. 6
1203:
1053:
950:
915:In the key of C major, these chords are
778:
624:
519:
296:
1735:, Ann Arbor, UMI Research Press, 1982.
1617:
1615:
1590:
1562:
629:Roman numeral analysis of the standard
183:in 1778. He mentioned them also in his
1682:Floyd K. Grave and Margaret G. Grave,
713:m becomes VI (also VI, VI, VIm, or VI)
689:m becomes II (also II, II, IIm, or II)
1713:Die Richtige Folge der Grundharmonien
485:are indicated with a slash e.g. V/V.
7:
701:A becomes IV (also IV, or simply IV)
550:denotes the second inversion (e.g. I
181:Grunde der Kuhrpfälzischen Tonschule
1156:. This enables composers to have a
722:becomes VII (also VII, VII, or VII)
25:
1599:Materials of Western Music Part 1
680:E becomes I (also I, or simply I)
429:The Roman numerals for the seven
1942:. Melbourne: Allans Educational.
633:
473:
282:
272:
262:
217:, who transmitted the theory to
243:related to or derived from the
1207:
108:. For example, the ubiquitous
1:
1958:Tonal and Rhythmic Principles
1785:Music: In Theory and Practice
1628:. New York: Harcourt, Brace.
465:in a flat key signature or a
457:Music: In Theory and Practice
203:Theory of Musical Composition
1853:. London: Bell & Hyman.
1755:The AB Guide to Music Theory
1542:
1534:
1526:
1523:
1515:
1507:
1504:
1484:
1476:
1473:
1470:
1462:
1459:
1456:
1435:
1432:
1429:
1426:
1423:
1420:
1417:
1402:
1399:
1396:
1388:
1385:
1382:
1379:
1359:
1351:
1348:
1345:
1337:
1329:
1326:
1306:
1303:
1300:
1297:
1289:
1286:
1283:
1268:
1265:
1262:
1259:
1256:
1253:
1250:
1175:
1123:
1105:
1097:
1089:
1084:
1079:
1069:
1066:
1063:
1050:
1047:
1044:
1041:
1038:
1035:
1025:
1017:
1009:
1006:
1003:
995:
992:
989:
922:
903:
900:
894:
891:
888:
885:
882:
872:
869:
866:
863:
860:
857:
854:
844:
841:
838:
835:
832:
829:
826:
568:is its first inversion (B–D–
440:
35:
18:Roman numeral chord analysis
1923:Robson, Elsie May (1960s).
1650:Die Kunst des reinen Satzes
173:Die Kunst des reinen Satzes
74:, which encode the chord's
2562:
2477:Essays in Musical Analysis
2346:List of chord progressions
1938:Spearritt, Gordon (1995).
1849:Lovelock, William (1981).
618:
594:or V its third inversion (
499:Roman numeral analysis by
479:in a sharp key signature.
455:In addition, according to
232:
185:Handbuch zur Harmonielehre
2471:
2392:
2343:
1810:Harmony and Voice Leading
1646:Johann Philipp Kirnberger
386:
581:its second inversion (D–
229:Common practice numerals
177:Abbé Georg Joseph Vogler
2418:Nashville Number System
2204:Tadd Dameron turnaround
1180:download the audio file
1128:download the audio file
927:download the audio file
507:) in bars 13–15 of the
503:(1906) of the degrees (
445:download the audio file
324:Lowercase Roman numeral
311:Uppercase Roman numeral
40:download the audio file
2500:Roman numeral analysis
2423:Roman numeral analysis
2299:Montgomery-Ward bridge
2279:Royal road progression
2174:Montgomery-Ward bridge
1940:Essential Music Theory
1927:. Sydney: Nicholson's.
1851:The Rudiments of Music
655:jazz and popular music
642:
525:
512:
245:common practice period
196:
141:
60:Roman numeral analysis
2244:Borrowed (contrafact)
986:Conventional notation
823:Conventional notation
628:
615:Jazz and pop numerals
523:
498:
378:Figured bass notation
374:Two or more numbers()
207:Theory of the degrees
175:in 1774. Soon after,
135:
112:progression uses the
2510:Schenkerian analysis
2335:Irregular resolution
2113:Backdoor progression
1904:Music Theory Academy
1753:Eric Taylor (1989).
1569:As the symbol for a
1154:harmonic minor scale
1032:Alternative notation
851:Alternative notation
2483:Functional analysis
1879:www.musictheory.net
1686:Georg Joseph Vogler
1661:David Damschroder,
1199:are the following:
944:natural minor scale
70:are represented by
2269:Passamezzo moderno
2229:Andalusian cadence
2159:Andalusian cadence
2138:Passamezzo moderno
2038:Constant structure
2009:Chord progressions
1900:"Chord Inversions"
1898:Ben (2013-12-02).
746:III) and C major (
643:
602:position, just as
526:
513:
363:Superscript number
142:
2528:
2527:
2431:
2430:
2352:
2351:
2329:Pachelbel's Canon
2264:Passamezzo antico
2212:
2211:
2179:Passamezzo antico
2133:Sixteen-bar blues
2098:V–IV–I turnaround
2093:ii–V–I turnaround
1875:"musictheory.net"
1833:Heinrich Schenker
1819:978-0-495-18975-6
1794:978-0-07-294262-0
1698:Gottfried Weber,
1671:978-0-521-88814-1
1626:Harmonic Practice
1552:
1551:
1184:
1160:(V) and also the
1132:
1112:
1111:
931:
911:
910:
645:In music theory,
639:
501:Heinrich Schenker
449:
425:
424:
387:Superscript and
169:Johann Kirnberger
140:, vol. II, p. 45.
80:harmonic function
64:harmonic analysis
44:
16:(Redirected from
2553:
2546:Musical analysis
2465:Musical analysis
2458:
2451:
2444:
2435:
2404:(macro analysis)
2379:
2372:
2365:
2356:
2284:"Rhythm" changes
2254:Coltrane changes
2154:'50s progression
2123:Twelve-bar blues
2107:
2106:
2076:
2051:
2002:
1995:
1988:
1979:
1972:
1971:
1950:
1944:
1943:
1935:
1929:
1928:
1920:
1914:
1913:
1911:
1910:
1895:
1889:
1888:
1886:
1885:
1871:
1865:
1864:
1846:
1840:
1830:
1824:
1823:
1805:
1799:
1798:
1780:
1769:
1768:
1750:
1744:
1722:
1716:
1709:
1703:
1696:
1690:
1680:
1674:
1659:
1653:
1643:
1637:
1619:
1610:
1595:
1578:
1567:
1547:
1546:
1539:
1538:
1531:
1530:
1520:
1519:
1512:
1511:
1489:
1488:
1481:
1480:
1467:
1466:
1440:
1439:
1393:
1392:
1364:
1363:
1356:
1355:
1342:
1341:
1334:
1333:
1311:
1310:
1294:
1293:
1209:
1204:
1162:dominant seventh
1151:
1150:
1102:
1101:
1094:
1093:
1074:
1073:
1022:
1021:
1014:
1013:
1000:
999:
951:
907:
898:
779:
751:
750:
745:
744:
739:
738:
721:
720:
712:
711:
697:
696:
688:
687:
641:
640:
631:twelve-bar blues
610:
609:
593:
592:
580:
579:
567:
566:
558:
557:
549:
548:
541:); the numerals
540:
539:
483:Secondary chords
478:
477:
470:
469:
464:
463:
421:
420:
409:Second inversion
395:
394:
354:Diminished triad
297:
287:
286:
277:
276:
267:
266:
199:
162:fundamental bass
110:twelve-bar blues
21:
2561:
2560:
2556:
2555:
2554:
2552:
2551:
2550:
2531:
2530:
2529:
2524:
2467:
2462:
2432:
2427:
2388:
2383:
2353:
2348:
2339:
2315:Aeolian harmony
2303:
2208:
2142:
2118:Eight-bar blues
2104:
2103:
2071:
2065:
2050:(Roman-numeral)
2049:
2011:
2006:
1976:
1975:
1968:
1952:
1951:
1947:
1937:
1936:
1932:
1922:
1921:
1917:
1908:
1906:
1897:
1896:
1892:
1883:
1881:
1873:
1872:
1868:
1861:
1848:
1847:
1843:
1831:
1827:
1820:
1807:
1806:
1802:
1795:
1782:
1781:
1772:
1765:
1752:
1751:
1747:
1723:
1719:
1711:Simon Sechter,
1710:
1706:
1697:
1693:
1681:
1677:
1660:
1656:
1644:
1640:
1620:
1613:
1596:
1592:
1587:
1582:
1581:
1568:
1564:
1559:
1544:
1543:
1536:
1535:
1528:
1527:
1517:
1516:
1509:
1508:
1486:
1485:
1478:
1477:
1464:
1463:
1454:(natural minor)
1437:
1436:
1390:
1389:
1361:
1360:
1353:
1352:
1339:
1338:
1331:
1330:
1308:
1307:
1291:
1290:
1234:
1193:
1186:
1185:
1183:
1148:
1147:
1134:
1133:
1131:
1107:
1099:
1098:
1091:
1090:
1086:
1081:
1076:
1071:
1070:
1019:
1018:
1011:
1010:
997:
996:
940:
933:
932:
930:
905:
896:
768:
763:
761:Diatonic scales
748:
747:
742:
741:
740:VII), G major (
736:
735:
718:
717:
709:
708:
694:
693:
685:
684:
634:
623:
617:
608:
605:
604:
603:
591:
588:
587:
586:
578:
575:
574:
573:
565:
562:
561:
560:
556:
553:
552:
551:
547:
544:
543:
542:
538:
535:
534:
533:
518:
472:
467:
466:
461:
460:
451:
450:
448:
419:
416:
415:
414:
399:First inversion
393:
390:
389:
388:
341:Augmented triad
288:
281:
278:
271:
268:
261:
253:Arabic numerals
237:
231:
191:Gottfried Weber
130:
82:within a given
52:
51:
50:
47:
46:
45:
43:
28:
23:
22:
15:
12:
11:
5:
2559:
2557:
2549:
2548:
2543:
2533:
2532:
2526:
2525:
2523:
2522:
2517:
2512:
2507:
2502:
2497:
2494:Music Analysis
2490:
2485:
2480:
2472:
2469:
2468:
2463:
2461:
2460:
2453:
2446:
2438:
2429:
2428:
2426:
2425:
2420:
2415:
2410:
2405:
2399:
2393:
2390:
2389:
2384:
2382:
2381:
2374:
2367:
2359:
2350:
2349:
2344:
2341:
2340:
2338:
2337:
2332:
2322:
2317:
2311:
2309:
2305:
2304:
2302:
2301:
2296:
2291:
2286:
2281:
2276:
2271:
2266:
2261:
2256:
2251:
2246:
2241:
2239:"Bird" changes
2236:
2231:
2226:
2220:
2218:
2214:
2213:
2210:
2209:
2207:
2206:
2201:
2196:
2191:
2181:
2176:
2171:
2166:
2161:
2156:
2150:
2148:
2144:
2143:
2141:
2140:
2135:
2130:
2127:"Bird" changes
2120:
2115:
2110:
2100:
2095:
2090:
2084:
2082:
2073:
2067:
2066:
2064:
2063:
2058:
2053:
2045:
2040:
2035:
2030:
2025:
2019:
2017:
2013:
2012:
2007:
2005:
2004:
1997:
1990:
1982:
1974:
1973:
1966:
1945:
1930:
1915:
1890:
1866:
1859:
1841:
1825:
1818:
1800:
1793:
1770:
1763:
1745:
1725:Anton Bruckner
1717:
1704:
1691:
1675:
1654:
1638:
1622:Roger Sessions
1611:
1589:
1588:
1586:
1583:
1580:
1579:
1561:
1560:
1558:
1555:
1554:
1553:
1550:
1549:
1541:
1533:
1525:
1522:
1514:
1506:
1503:
1496:
1492:
1491:
1483:
1475:
1472:
1469:
1461:
1458:
1455:
1447:
1443:
1442:
1434:
1431:
1428:
1425:
1422:
1419:
1416:
1409:
1405:
1404:
1401:
1398:
1395:
1387:
1384:
1381:
1378:
1371:
1367:
1366:
1358:
1350:
1347:
1344:
1336:
1328:
1325:
1318:
1314:
1313:
1305:
1302:
1299:
1296:
1288:
1285:
1282:
1275:
1271:
1270:
1267:
1264:
1261:
1258:
1255:
1252:
1249:
1241:
1237:
1236:
1231:
1228:
1225:
1222:
1219:
1216:
1213:
1210:
1192:
1189:
1188:
1187:
1177:
1174:
1172:
1158:dominant chord
1144:subtonic chord
1140:dominant chord
1136:
1135:
1125:
1122:
1120:
1114:
1113:
1110:
1109:
1104:
1096:
1088:
1083:
1078:
1068:
1065:
1062:
1056:
1055:
1052:
1049:
1046:
1043:
1040:
1037:
1034:
1028:
1027:
1024:
1016:
1008:
1005:
1002:
994:
991:
988:
982:
981:
978:
973:
970:
967:
964:
961:
958:
955:
939:
936:
935:
934:
924:
921:
919:
913:
912:
909:
908:
902:
899:
893:
890:
887:
884:
881:
875:
874:
871:
868:
865:
862:
859:
856:
853:
847:
846:
843:
840:
837:
834:
831:
828:
825:
819:
818:
813:
808:
803:
798:
793:
788:
783:
767:
764:
762:
759:
724:
723:
714:
705:
702:
699:
690:
681:
659:rhythm section
653:aimed towards
619:Main article:
616:
613:
606:
589:
576:
563:
554:
545:
536:
517:
514:
453:
452:
442:
439:
437:
427:
426:
423:
422:
417:
411:
405:
404:
401:
396:
391:
384:
383:
380:
375:
371:
370:
367:
364:
360:
359:
356:
351:
347:
346:
343:
338:
334:
333:
330:
325:
321:
320:
317:
312:
308:
307:
304:
301:
280:
270:
260:
230:
227:
215:Anton Bruckner
129:
126:
72:Roman numerals
48:
37:
34:
32:
31:
30:
29:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
2558:
2547:
2544:
2542:
2539:
2538:
2536:
2521:
2520:Transcription
2518:
2516:
2515:Sonata theory
2513:
2511:
2508:
2506:
2503:
2501:
2498:
2496:
2495:
2491:
2489:
2488:Chord letters
2486:
2484:
2481:
2479:
2478:
2474:
2473:
2470:
2466:
2459:
2454:
2452:
2447:
2445:
2440:
2439:
2436:
2424:
2421:
2419:
2416:
2414:
2411:
2409:
2406:
2403:
2402:Chord letters
2400:
2398:
2395:
2394:
2391:
2387:
2386:Chord symbols
2380:
2375:
2373:
2368:
2366:
2361:
2360:
2357:
2347:
2342:
2336:
2333:
2330:
2326:
2323:
2321:
2318:
2316:
2313:
2312:
2310:
2306:
2300:
2297:
2295:
2292:
2290:
2287:
2285:
2282:
2280:
2277:
2275:
2272:
2270:
2267:
2265:
2262:
2260:
2257:
2255:
2252:
2250:
2247:
2245:
2242:
2240:
2237:
2235:
2232:
2230:
2227:
2225:
2222:
2221:
2219:
2215:
2205:
2202:
2200:
2197:
2195:
2192:
2189:
2185:
2182:
2180:
2177:
2175:
2172:
2170:
2167:
2165:
2162:
2160:
2157:
2155:
2152:
2151:
2149:
2145:
2139:
2136:
2134:
2131:
2128:
2124:
2121:
2119:
2116:
2114:
2111:
2109:
2108:VII–V cadence
2101:
2099:
2096:
2094:
2091:
2089:
2086:
2085:
2083:
2081:
2077:
2074:
2068:
2062:
2059:
2057:
2056:Rewrite rules
2054:
2052:
2046:
2044:
2041:
2039:
2036:
2034:
2031:
2029:
2026:
2024:
2021:
2020:
2018:
2014:
2010:
2003:
1998:
1996:
1991:
1989:
1984:
1983:
1980:
1969:
1967:0-8230-2559-4
1963:
1959:
1955:
1949:
1946:
1941:
1934:
1931:
1926:
1919:
1916:
1905:
1901:
1894:
1891:
1880:
1876:
1870:
1867:
1862:
1860:0-7135-0744-6
1856:
1852:
1845:
1842:
1838:
1837:Harmonielehre
1834:
1829:
1826:
1821:
1815:
1811:
1804:
1801:
1796:
1790:
1786:
1779:
1777:
1775:
1771:
1766:
1764:1-85472-446-0
1760:
1756:
1749:
1746:
1742:
1741:0-8357-1586-8
1738:
1734:
1730:
1726:
1721:
1718:
1714:
1708:
1705:
1701:
1695:
1692:
1688:
1687:
1679:
1676:
1672:
1668:
1664:
1658:
1655:
1651:
1647:
1642:
1639:
1635:
1631:
1627:
1623:
1618:
1616:
1612:
1608:
1607:1-55122-034-2
1604:
1600:
1594:
1591:
1584:
1576:
1572:
1566:
1563:
1556:
1502:
1501:
1497:
1494:
1493:
1453:
1452:
1448:
1445:
1444:
1415:
1414:
1410:
1407:
1406:
1377:
1376:
1372:
1369:
1368:
1324:
1323:
1319:
1316:
1315:
1281:
1280:
1276:
1273:
1272:
1247:
1246:
1242:
1239:
1238:
1235:Leading tone
1232:
1229:
1226:
1223:
1220:
1217:
1214:
1211:
1206:
1205:
1202:
1201:
1200:
1198:
1190:
1181:
1171:
1170:
1169:
1167:
1163:
1159:
1155:
1145:
1141:
1129:
1119:
1118:
1117:
1061:
1058:
1057:
1033:
1030:
1029:
987:
984:
983:
980:Leading tone
979:
977:
974:
971:
968:
965:
962:
959:
956:
953:
952:
949:
948:
947:
945:
937:
928:
918:
917:
916:
880:
877:
876:
852:
849:
848:
824:
821:
820:
817:
814:
812:
809:
807:
804:
802:
799:
797:
794:
792:
789:
787:
784:
781:
780:
777:
776:
775:
773:
765:
760:
758:
754:
733:
729:
728:popular music
715:
706:
703:
700:
691:
682:
679:
678:
677:
674:
672:
671:accompaniment
668:
664:
660:
656:
652:
648:
632:
627:
622:
621:Universal key
614:
612:
599:
597:
584:
571:
531:
522:
515:
510:
509:Allegro assai
506:
502:
497:
493:
491:
486:
484:
480:
476:
458:
446:
436:
435:
434:
432:
431:root-position
412:
410:
407:
406:
402:
400:
397:
385:
381:
379:
376:
373:
372:
368:
365:
362:
361:
357:
355:
352:
349:
348:
344:
342:
339:
336:
335:
331:
329:
326:
323:
322:
318:
316:
313:
310:
309:
305:
302:
299:
298:
295:
294:
293:
290:
285:
275:
265:
258:
254:
250:
249:scale degrees
246:
242:
236:
228:
226:
224:
220:
216:
212:
211:Stufentheorie
208:
204:
200:
198:
192:
188:
186:
182:
178:
174:
170:
165:
163:
159:
155:
151:
147:
139:
134:
127:
125:
123:
119:
115:
111:
107:
102:
100:
96:
92:
87:
85:
81:
77:
73:
69:
65:
62:is a type of
61:
57:
41:
19:
2499:
2492:
2475:
2422:
2294:Tadd-Dameron
2047:
2043:Double tonic
1957:
1954:John Mehegan
1948:
1939:
1933:
1924:
1918:
1907:. Retrieved
1903:
1893:
1882:. Retrieved
1878:
1869:
1850:
1844:
1836:
1828:
1809:
1803:
1784:
1754:
1748:
1743:. pp. 67–84.
1732:
1728:
1720:
1712:
1707:
1699:
1694:
1683:
1678:
1662:
1657:
1649:
1641:
1625:
1598:
1593:
1574:
1570:
1565:
1498:
1449:
1411:
1373:
1320:
1277:
1243:
1197:modern modes
1194:
1137:
1115:
1077:(or III Maj)
1060:Chord symbol
1059:
1031:
985:
954:Scale degree
941:
914:
879:Chord symbol
878:
850:
822:
816:Leading tone
782:Scale degree
769:
755:
725:
675:
644:
600:
595:
582:
569:
530:Figured bass
527:
508:
504:
490:Schenkerians
487:
481:
456:
454:
428:
350:Superscript
337:Superscript
291:
241:music theory
238:
235:Figured bass
210:
202:
194:
189:
184:
180:
172:
166:
154:Root (chord)
143:
137:
103:
95:minor chords
91:major chords
88:
59:
56:music theory
53:
2397:Chord chart
2325:Ground bass
2194:IV–V–iii–vi
2016:Terminology
1224:Subdominant
1082:(or IV Maj)
966:Subdominant
938:Minor scale
801:Subdominant
772:major scale
766:Major scale
667:lead singer
651:lead sheets
328:Minor triad
315:Major triad
118:subdominant
84:musical key
2535:Categories
2413:Lead sheet
2408:Jazz chord
2061:Turnaround
1909:2020-12-06
1884:2020-11-29
1601:, p. 227.
1585:References
1413:Mixolydian
1233:Subtonic /
1230:Submediant
1218:Supertonic
972:Submediant
960:Supertonic
811:Submediant
791:Supertonic
732:rock music
663:bandleader
647:fake books
585:–B); and V
516:Inversions
366:Added note
233:See also:
219:Schoenberg
2505:Reduction
2199:Romanesca
2184:I–V–vi–IV
2169:vi–ii–V–I
2072:of chords
2070:By number
2048:Notation
1557:Footnotes
1108:(or VII)
306:Examples
66:in which
2320:Chaconne
2234:Backdoor
2105:♭
2088:I–IV–V–I
1956:(1989).
1624:(1951).
1545:♭
1537:♭
1529:♭
1518:♭
1510:♭
1487:♭
1479:♭
1465:♭
1438:♭
1391:♯
1362:♭
1354:♭
1340:♭
1332:♭
1322:Phrygian
1309:♭
1292:♭
1227:Dominant
1149:♭
1100:♭
1092:♭
1072:♭
1020:♭
1012:♭
998:♭
976:Subtonic
969:Dominant
906:(or VII)
904:VII dim
806:Dominant
749:♭
743:♭
737:♭
719:♯
710:♯
695:♯
686:♯
468:♯
462:♮
289:, ...).
223:Schenker
122:dominant
120:IV, and
2308:Related
2274:Ragtime
2259:Omnibus
2217:By name
2125: (
2033:Changes
2028:Cadence
1636:. p. 7.
1634:51-8476
1500:Locrian
1451:Aeolian
1248:(major)
1221:Mediant
1166:cadence
1106:VII dim
1103:VII Maj
1075:III Aug
963:Mediant
889:III min
796:Mediant
598:–B–D).
488:Modern
303:Meaning
152:of the
150:History
128:History
99:quality
2541:Chords
2249:Circle
2023:Bridge
1964:
1857:
1816:
1791:
1761:
1739:
1669:
1632:
1605:
1375:Lydian
1279:Dorian
1245:Ionian
1095:VI Maj
1087:(or V)
1080:IV min
1067:II dim
901:VI min
897:(or V)
895:V Maj
892:IV Maj
886:II min
669:. The
505:Stufen
300:Symbol
257:carets
158:Rameau
76:degree
68:chords
2289:Stomp
2164:FolĂa
2080:Three
1571:Stufe
1215:Tonic
1191:Modes
1085:V min
1064:I min
957:Tonic
883:I Maj
786:Tonic
255:with
148:(see
116:(I),
114:tonic
2188:list
2147:Four
1962:ISBN
1855:ISBN
1814:ISBN
1789:ISBN
1759:ISBN
1737:ISBN
1667:ISBN
1630:LCCN
1603:ISBN
1548:vii
1490:VII
1441:VII
1403:vii
1365:vii
1312:VII
1269:vii
1212:Mode
1054:vii
1026:vii
873:VII
845:vii
730:and
649:and
572:); V
221:and
146:root
78:and
2224:50s
1521:iii
1468:III
1424:iii
1386:iii
1343:III
1295:III
1257:iii
1208:No.
1042:iii
1023:VII
1001:III
861:III
833:iii
726:In
665:or
596:F–G
583:F–G
570:F–G
471:or
239:In
209:" (
193:'s
171:'s
160:'s
106:key
54:In
2537::
1902:.
1877:.
1835:,
1773:^
1727:,
1665:.
1648:,
1614:^
1540:VI
1524:iv
1513:II
1482:VI
1471:iv
1460:ii
1433:vi
1427:IV
1421:ii
1400:vi
1394:iv
1383:II
1357:VI
1346:iv
1335:II
1304:vi
1298:IV
1287:ii
1266:vi
1260:IV
1254:ii
1051:vi
1045:iv
1039:ii
1015:VI
1004:iv
993:ii
946:.
870:VI
864:IV
858:II
842:vi
836:IV
830:ii
774:.
403:I
382:V
369:V
358:i
345:I
332:i
319:I
279:,
269:,
164:.
101:.
86:.
58:,
2457:e
2450:t
2443:v
2378:e
2371:t
2364:v
2331:)
2327:(
2190:)
2186:(
2129:)
2001:e
1994:t
1987:v
1970:.
1912:.
1887:.
1863:.
1822:.
1797:.
1767:.
1689:.
1609:.
1577:.
1532:V
1505:i
1495:7
1474:v
1457:i
1446:6
1430:v
1418:I
1408:5
1397:V
1380:I
1370:4
1349:v
1327:i
1317:3
1301:v
1284:i
1274:2
1263:V
1251:I
1240:1
1182:.
1130:.
1048:v
1036:i
1007:v
990:i
929:.
867:V
855:I
839:V
827:I
716:D
707:C
692:G
683:F
607:3
590:2
577:3
564:5
555:4
546:4
537:3
447:.
418:4
413:I
392:#
201:(
42:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
