Roman numeral analysis

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In music, Roman numeral analysis

involves the use of Roman numerals to
represent chords. In this context, Roman
numerals (I, II, III, IV, ...) typically denote
scale degrees (first, second, third, fourth, ...).
Root position triads of the C major scale with Roman
When a Roman numeral is used to represent
a chord, it is meant to indicate the scale numerals.[1]  Play 
degree corresponding to its root note, which
is the note on which the chord is built. For
instance, III is the Roman numeral which
denotes either the third degree of a scale, or
the chord built on that degree. In many cases,
uppercase Roman numerals (such as I, IV, V) Root position triads of the C natural minor scale with Roman
represent major chords while lowercase numerals.  Play 
Roman numerals (such as i, iv, v) represent
the minor chords (see Major and Minor
below for alternative notations); elsewhere, upper-case Roman numerals are used for all chords.[2] 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
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]

Common practice numerals

Roman numeral
analysis symbols[4][5]
Symbol Meaning Examples
Uppercase Roman
Major triad I
numeral Types of triads:  I ,  i ,  io ,  I+ 
Lowercase Roman
Minor triad i
numeral
Diminished
Superscript ° i°
triad
Superscript + Augmented +
triad I
(sometimes x)
Superscript number added note V7, I6
4-3 6
figured bass V , I4
Two or more numbers (equivalent to
notation
Ic)
First
Lowercase b Ib
inversion
Second
Lowercase c Ic
inversion
Third 7
Lowercase d
inversion V d

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.

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, d-, 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. "-" for minor or "ø" 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:

E maj7 becomes I maj7 (or simply I)

F♯ -7 becomes ii -7 (or simply ii)
G♯ -7 becomes iii -7 (or simply iii)
A maj7 becomes IV maj7 (or simply IV)
B7 becomes V7 (or simply V)
C♯ -7 becomes vi -7 (or simply vi)
D♯ø7 becomes viiø7 (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 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]

V Maj (or VII dim (or

Chord symbol I Maj II min III min IV Maj VI min
V7) VII°)

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.

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