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In the most common day-to-day use in pop, rock, traditional music, and jazz and blues, Roman numerals
allow musicians to quickly understand the progression of chords in a song. For instance, the standard
twelve bar blues progression is denoted by the Roman numerals I (first), IV (fourth), and V (fifth), which
is sometimes written I7, IV7 and 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. Similarly, if one were to play 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. In essence, Roman numerals provide
a way to abstract chord progressions, by making them independent of the selected key. This allows chord
progressions to be easily transposed by backup band musicians or rhythm section players to any key.
Contents
1 Overview
2 Common practice numerals
3 Jazz and pop numerals
3.1 Major
3.2 Minor
4 Sources
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, 1817–21) 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 Abbé Georg Joseph Vogler, whose theoretical works as early as 1776 employed Roman
numeral analysis.[3]
The current system used today to study and analyze tonal music comes about initially from the work and
writings of Rameau’s fundamental bass. The dissemination of Rameau’s 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 Trydell’s 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.
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 major and B major), which are "borrowed"
from the key of E major.
Major
Scale degree
Tonic Supertonic Mediant Subdominant Dominant Submediant Leading tone
(major mode)
Traditional
notation
I ii iii IV V vi vii°
Alternative
notation
I II III IV V VI VII[9]
Minor
Scale degree
Leading
(minor Tonic Supertonic Mediant Subdominant Dominant Submediant Subtonic
tone
mode)
Traditional
notation
i ii° III iv V VI VII vii°
Alternative
I ii iii iv v vi vii
notation
VII dim
Chord ♭III Aug IV min (or V Maj (or ♭VII
I min II dim ♭VI Maj (or VII
symbol (or III Maj) IV Maj) V7) Maj °)
Sources
1. Jonas, Oswald (1982). Introduction to the Theory of Heinrich Schenker (1934: Das Wesen des musikalischen
Kunstwerks: Eine Einführung 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 Abbé 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. 60–61.
6. Dahlhaus, Carl. "Harmony." Grove Online Music Dictionary
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.