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In music theory, Roman numeral analysis is a type of harmonic analysis in which chords are represented by Roman numerals, which encode the chord's degree and harmonic function within a given musical key. Specific notation conventions vary: some theorists use uppercase numerals (e.g.
This theory, in several revised forms, remains much in use for the pedagogy of harmony and analysis in German-speaking countries and in North- and East-European countries. The Viennese theory, characterized by the use of Roman numerals to denote the chords of the tonal scale, as developed by Simon Sechter , Arnold Schoenberg , Heinrich Schenker ...
The diatonic harmonization of any major scale results in three major triads, which are based on the first, fourth, and fifth scale degrees.The triads are referred to as the tonic chord (in Roman numeral analysis, symbolized by "I"), the subdominant chord (IV), and the dominant chord, (V), respectively. [3]
In some conventions (as in this and related articles) upper-case Roman numerals indicate major triads (e.g., I, IV, V) while lower-case Roman numerals indicate minor triads (e.g., I for a major chord and i for a minor chord, or using the major key, ii, iii and vi representing typical diatonic minor triads); other writers (e.g., Schoenberg) use ...
Figured bass is musical notation in which numerals and symbols appear above or below (or next to) a bass note. The numerals and symbols (often accidentals ) indicate intervals , chords , and non-chord tones that a musician playing piano , harpsichord , organ , or lute (or other instruments capable of playing chords) should play in relation to ...
by Roman numerals (I, II, III, IV ...); [3] by the English name for their function: tonic , supertonic , mediant , subdominant , dominant , submediant , subtonic or leading note ( leading tone in the United States), and tonic again.
The starting point of Karlheinz Stockhausen's piece for vocal sextet, Stimmung (1968) [10] is a chord consisting of the notes B ♭, F, B ♭, D, A ♭ and C. [11] According to Nicholas Cook, [12] Stimmung could, in terms of conventional tonal harmony, be viewed as "simply a dominant ninth chord that is subject to timbral variation. The notes ...
In diatonic harmony, the half-diminished seventh chord occurs naturally on the seventh scale degree of any major scale (for example, B ø 7 in C major) and is thus a leading-tone seventh chord in the major mode. [3] Similarly, the chord also occurs on the second degree of any natural minor scale (e.g., D ø 7 in C minor). It has been described ...