LOWER CASEᵒ: while the diminished triad isn’t as common as the major or minor, it is found on the seventh scale degree of major and second and seventh in harmonic minor. In harmonic minor, we encounter them at i (1) and iv (4). In major, we encounter minor chords at ii (2), iii (3), and vi (6). Lower case Roman numerals are the exact combination of letters to represent each position, they are just lower case. LOWER CASE ROMAN NUMERALS: represent minor triads starting on that scale degree of the scale. So in the case of the third triad of harmonic minor, you would write: III⁺. When you do, you will write the chord as an upper case Roman numeral with a superscript “+” to signify that the chord is not just major, but augmented. UPPER CASE⁺: on rare occasions, you will encounter an augmented triad in harmony (it occurs naturally on the third scale degree of harmonic minor - see above). In a major key, we will encounter major triads on the I (1), IV (4), and V (5). So V would be the major triad starting on the fifth scale degree. UPPER CASE ROMAN NUMERALS: represent major triads starting on that scale degree of the scale. Because chords in music only inhabit seven positions (for the seven scale degrees), we will only use Roman numerals I, II, III, IV, V, VI, and VII. ROMAN NUMERALS are a numerical system developed in Ancient Rome where numbers are represented by a combination of letters such as “I”, “V”, “X”, and “M”.
Take a look at how chords occur in C Harmonic Minor compared to C Major. For the purpose of harmonization, we will focus on the harmonic minor scale (and not worry about the natural or melodic minor scale). The pattern for minor scales, however, will be different because minor scale degree patterns differ from major. This pattern is constant, just like the sequence of half and whole steps in a major scale.
If you build a triad off the sixth scale degree, no matter what major key you are in, it will be a minor triad. If you build a triad off the root of a major scale, no matter what the first scale degree is, it will be a major triad. This pattern is universal for all major scales. MAJOR - MINOR - MINOR - MAJOR - MAJOR - MINOR - DIMINISHED (- MAJOR) In the example above, the seven distinct positions of triads create a triad quality pattern of: When you use accidentals to build your chords, these chords and harmonies are referred to as CHROMATIC (we won’t get into chromatic harmony until Music Theory II).
When you build a chord that exists naturally in the key (meaning there are no accidentals in the chord), you call these chords DIATONIC, meaning “from the scale”. We selected the notes based on what is available in the key (in C Major, we’re dealing with all naturals). Recall from last week how we added two notes above each scale degree to create triads. The most basic and complete way to harmonize is to turn each note of a scale into a triad (three-note chord) with the scale degree as the root. To HARMONIZE something is to “add harmony to” meaning that a single note or group of notes (in a melody) are suddenly anchored to a specific tonality by attaching at least one additional vertical note (in the case of TWO-PART HARMONY) or attaching an entire chord (in the case of CHORDAL HARMONY).
ROMAN NUMERAL IVI HOW TO
To understand how to make it work, you need to understand how to harmonize scale degrees, which we touched on briefly last week … HARMONIZING SCALES However, to date, this is the most encompassing way to analyze music that uses chords (most Western Classical Music) because it not only shows chord type and inversion, but each chord’s relationship to the tonic. This method was created in the early 19th century (so it’s about 200 years old) and has a few limitations, especially when considering really modern, chromatic music that draws from many different scales or tonalities.
ROMAN NUMERAL IVI UPDATE
As we round the corner to the final weeks of Music Theory I, we are giving analysis one new update to bring it into the 21st century - this concept we will begin to work on here is the way musicians look at and analyze tonal harmony of Western Classical Music in 2020 (congrats, you made it!). Last week, we covered the huge concept of Figured Bass.
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