{"id":539,"date":"2023-05-11T19:02:47","date_gmt":"2023-05-11T19:02:47","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/roman-numerals\/"},"modified":"2025-08-13T18:30:48","modified_gmt":"2025-08-13T18:30:48","slug":"roman-numerals","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/roman-numerals\/","title":{"raw":"Roman numerals","rendered":"Roman numerals"},"content":{"raw":"<div class=\"roman-numerals\">\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning goals for Chapter 14<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\r\n\r\n<ul>\r\n \t<li>How to identify chords in a major or minor key with Roman numeral labels<\/li>\r\n \t<li>How to construct chords in a major or minor key, given Roman numeral labels<\/li>\r\n \t<li>How to combine Roman numerals with figured bass symbols to represent chords in various contexts<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"_Toc130306442\"><\/a>Roman numerals<\/h1>\r\n<p class=\"import-Normal\">We have already studied chord symbols, which are used as a practical system for musicians playing from lead sheets. People studying music also use these symbols for analytical purposes. The primary drawback to using lead sheet symbols is that they do not convey any sense of harmonic function; instead, we are given only the root, quality, and inversion of the chord. This means that the G major triad, for example, has the same lead sheet symbol whether it appears in G major (as the tonic triad) or in C major (as the dominant triad).<\/p>\r\n<p class=\"import-Normal\">In order to convey tonal function, which lead sheet symbols do not do, music analysts often prefer to use a system of [pb_glossary id=\"1861\"]Roman numeral[\/pb_glossary] labeling, where each chord is given a numeral label based on the scale degree number of its root within a key.<\/p>\r\n<p class=\"import-Normal\">Furthermore, this system also indicates quality. An uppercase Roman numeral signifies a major triad, and a lowercase Roman numeral indicates a minor triad. Augmented triads use an uppercase Roman numeral followed by the \u201c+\u201d symbol, and diminished triads use a lowercase numeral followed by the \u201co\u201d symbol. Using this system, the triad built on tonic is I or i, supertonic is ii or iio, dominant is V, and so forth. Example 14\u20111 shows the Roman numerals and their corresponding qualities in major keys, using the key of A major.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 14\u20111. Roman numerals in A major<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image77.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image77.png\" width=\"1335\" height=\"168\" alt=\"image of triads on staff with Roman numeral labels\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\nThe qualities for each triad in minor keys are different from those in major keys. Moreover, since there are three forms of the minor scale, sometimes there is more than one quality a triad can assume in a minor key. Usually, the [pb_glossary id=\"1038\"]harmonic minor[\/pb_glossary] form of the scale is used for deriving chords (hence its name, <em>harmonic<\/em> minor), but sometimes the [pb_glossary id=\"1029\"]natural[\/pb_glossary] or [pb_glossary id=\"1043\"]melodic minor[\/pb_glossary] scale may be used. Example 14\u20112 shows the Roman numerals and the most common corresponding qualities in minor keys. Notice that some of the chords require the addition of the leading tone (raised scale-degree [latex]\\hat{7}[\/latex], \u201cti\u201d) in minor. This results in two different chords built on scale degree [latex]\\hat{7}[\/latex]: the [pb_glossary id=\"1867\"]subtonic triad[\/pb_glossary] (built on lowered [latex]\\hat{7}[\/latex], \u201cte\u201d) and the [pb_glossary id=\"1868\"]leading-tone triad[\/pb_glossary] (built on raised [latex]\\hat{7}[\/latex], \u201cti\u201d).\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 14\u20112. Roman numerals in A minor<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image78.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image78.png\" width=\"1335\" height=\"177\" alt=\"image of triads on staff with Roman numeral labels\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Analysis with Roman numerals can be combined with figured bass symbols to show inversion as well. This results in a very powerful analytical system that conveys a great deal of information with just a few symbols. Example 14\u20113 shows all the inversions of the tonic triad using Roman numerals and figured bass symbols.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 14\u20113. All positions of the tonic triad in A major<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image79.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image79.png\" width=\"829\" height=\"179\" alt=\"image of triads on staff\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\nExample 14\u20114 shows the Roman numerals for seventh chords and their qualities in major keys. The qualities of seventh chords may also be indicated with various modifications to the Roman numerals. For major seventh chords and major-minor sevenths, simply add a \u201c7\u201d after an uppercase Roman numeral. Note the difference in quality between I7 and IV7 (major seventh chords) and V7 (a major-minor seventh chord), even though they use the same symbol (7). For minor sevenths, add a \u201c7\u201d after a lowercase numeral. Half-diminished seventh chords use a lowercase numeral followed by \u201c\u00f87,\u201d and fully diminished sevenths use a lowercase numeral followed by \u201co7.\u201d\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 14\u20114. Seventh chords in A major<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image80.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image80.png\" width=\"1329\" height=\"189\" alt=\"image of seventh chords on staff\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\nExample 14\u20115 shows the Roman numerals for seventh chords and their qualities in minor keys. Again, any uppercase Roman numeral with a 7 may indicate either a major or major-minor seventh chord quality. In minor keys, major seventh chords include III7 and VI7, whereas V7 (derived from [pb_glossary id=\"1038\"]harmonic minor[\/pb_glossary]) and VII7 (derived from [pb_glossary id=\"1029\"]natural minor[\/pb_glossary]) are major-minor. In addition, when [pb_glossary id=\"1038\"]harmonic minor[\/pb_glossary] is used, viio7 (built on the leading tone) is fully diminished.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 14\u20115. Seventh chords in A minor<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image81.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image81.png\" width=\"1329\" height=\"183\" alt=\"image of seventh chords on staff\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T32 Roman numerals in major and minor keys (6:58)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/siBP7XzpPg8\r\n<p class=\"import-Normal\">This video shows how to determine Roman numerals for triads in major and minor keys.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 14-1 Roman numeral identification\"><\/a>EXERCISE 14-1 Roman numeral identification<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 14-1 Roman numeral identification<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><span>Beneath the staff, label each chord with a Roman numeral, adding figured bass symbols when appropriate.<\/span> Above the staff, label each chord with a lead-sheet chord symbol. The first is done for you.<\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image82.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image82.png\" width=\"1341\" height=\"1115\" alt=\"image of chords written on staff, with blanks above staff for lead sheet symbols and blanks beneath staff for Roman numeral labels. Four sets shown: first set in B-flat major in bass clef, second set in E minor in bass clef, third set in D minor in bass clef, and fourth set in D major in treble clef\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex14-1-Roman-numeral-identification.pdf\" target=\"_blank\" rel=\"noopener\">Ex14.1 Roman numeral identification<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n\r\n<h1><a id=\"EXERCISE 14-2 Roman numeral chord construction\"><\/a>EXERCISE 14-2 Roman numeral chord construction<\/h1>\r\n\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 14-2 Roman numeral chord construction<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">On the staff below or on a separate sheet of staff paper, spell each chord given the key signature, Roman numeral, and figured bass symbol. Remember that sometimes it will be necessary to raise the leading tone in minor keys.<\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image83.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image83.png\" width=\"1397\" height=\"1197\" alt=\"image of blanks staves labeled with key areas and Roman numerals. Four sets shown: first set in C minor in treble clef: two-diminished-six, uppercase five, six, four-six-four, one-six-four, uppercase three, uppercase seven, lowercase seven-diminished-six. Second set in G major in treble clef: three, six-six, two-six-five, five-four-three, one-six, four, seven-half-diminished, five-six. Third set in G minor in bass clef: uppercase three augmented, six-six, two-half-diminished-six-five, uppercase five-seven, one, four-six, lowercase seven-fully-diminished-four-three, uppercase seven-six. Fourth set in B minor in bass clef: four-six-four, lowercase seven-diminished-six-four, uppercase three-six, six-six-four, two-diminished-six, five-four-two, one-six-four, lowercase five-six\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex14-2-Roman-numeral-chord-construction.pdf\" rel=\"attachment noopener wp-att-1878\" target=\"_blank\">Ex14.2 Roman numeral chord construction<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Supplemental resources\"><\/a>Supplemental resources<\/h1>\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Supplemental resources for Chapter 14<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/roman-numerals\/\" target=\"_blank\" rel=\"noopener\">Samuel Brady and Kris Shaffer's chapter on Roman numerals<\/a> (Open Music Theory)\r\n<p class=\"import-Normal\"><a class=\"rId181\" href=\"https:\/\/milnepublishing.geneseo.edu\/fundamentals-function-form\/chapter\/13-triads\/\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Andre Mount's chapter on triads and Roman numerals<\/span><\/a><\/p>\r\n<p class=\"import-Normal\"><a class=\"rId182\" href=\"http:\/\/musictheory.pugetsound.edu\/mt21c\/RomanNumeralsAndCadences.html\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Robert Hutchinson's chapter on Roman numerals<\/span><\/a><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"roman-numerals\">\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning goals for Chapter 14<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\n<ul>\n<li>How to identify chords in a major or minor key with Roman numeral labels<\/li>\n<li>How to construct chords in a major or minor key, given Roman numeral labels<\/li>\n<li>How to combine Roman numerals with figured bass symbols to represent chords in various contexts<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<h1><a id=\"_Toc130306442\"><\/a>Roman numerals<\/h1>\n<p class=\"import-Normal\">We have already studied chord symbols, which are used as a practical system for musicians playing from lead sheets. People studying music also use these symbols for analytical purposes. The primary drawback to using lead sheet symbols is that they do not convey any sense of harmonic function; instead, we are given only the root, quality, and inversion of the chord. This means that the G major triad, for example, has the same lead sheet symbol whether it appears in G major (as the tonic triad) or in C major (as the dominant triad).<\/p>\n<p class=\"import-Normal\">In order to convey tonal function, which lead sheet symbols do not do, music analysts often prefer to use a system of <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_539_1861\">Roman numeral<\/a> labeling, where each chord is given a numeral label based on the scale degree number of its root within a key.<\/p>\n<p class=\"import-Normal\">Furthermore, this system also indicates quality. An uppercase Roman numeral signifies a major triad, and a lowercase Roman numeral indicates a minor triad. Augmented triads use an uppercase Roman numeral followed by the \u201c+\u201d symbol, and diminished triads use a lowercase numeral followed by the \u201co\u201d symbol. Using this system, the triad built on tonic is I or i, supertonic is ii or iio, dominant is V, and so forth. Example 14\u20111 shows the Roman numerals and their corresponding qualities in major keys, using the key of A major.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 14\u20111. Roman numerals in A major<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image77.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image77.png\" width=\"1335\" height=\"168\" alt=\"image of triads on staff with Roman numeral labels\" class=\"alignnone\" \/><\/a><\/p>\n<\/div>\n<\/div>\n<p>The qualities for each triad in minor keys are different from those in major keys. Moreover, since there are three forms of the minor scale, sometimes there is more than one quality a triad can assume in a minor key. Usually, the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_539_1038\">harmonic minor<\/a> form of the scale is used for deriving chords (hence its name, <em>harmonic<\/em> minor), but sometimes the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_539_1029\">natural<\/a> or <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_539_1043\">melodic minor<\/a> scale may be used. Example 14\u20112 shows the Roman numerals and the most common corresponding qualities in minor keys. Notice that some of the chords require the addition of the leading tone (raised scale-degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-aabb030b8c1f8a0694fdf6f276fed432_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#55;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>, \u201cti\u201d) in minor. This results in two different chords built on scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-aabb030b8c1f8a0694fdf6f276fed432_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#55;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>: the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_539_1867\">subtonic triad<\/a> (built on lowered <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-aabb030b8c1f8a0694fdf6f276fed432_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#55;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>, \u201cte\u201d) and the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_539_1868\">leading-tone triad<\/a> (built on raised <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-aabb030b8c1f8a0694fdf6f276fed432_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#55;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>, \u201cti\u201d).<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 14\u20112. Roman numerals in A minor<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image78.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image78.png\" width=\"1335\" height=\"177\" alt=\"image of triads on staff with Roman numeral labels\" class=\"alignnone\" \/><\/a><\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Analysis with Roman numerals can be combined with figured bass symbols to show inversion as well. This results in a very powerful analytical system that conveys a great deal of information with just a few symbols. Example 14\u20113 shows all the inversions of the tonic triad using Roman numerals and figured bass symbols.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 14\u20113. All positions of the tonic triad in A major<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image79.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image79.png\" width=\"829\" height=\"179\" alt=\"image of triads on staff\" class=\"alignnone\" \/><\/a><\/p>\n<\/div>\n<\/div>\n<p>Example 14\u20114 shows the Roman numerals for seventh chords and their qualities in major keys. The qualities of seventh chords may also be indicated with various modifications to the Roman numerals. For major seventh chords and major-minor sevenths, simply add a \u201c7\u201d after an uppercase Roman numeral. Note the difference in quality between I7 and IV7 (major seventh chords) and V7 (a major-minor seventh chord), even though they use the same symbol (7). For minor sevenths, add a \u201c7\u201d after a lowercase numeral. Half-diminished seventh chords use a lowercase numeral followed by \u201c\u00f87,\u201d and fully diminished sevenths use a lowercase numeral followed by \u201co7.\u201d<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 14\u20114. Seventh chords in A major<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image80.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image80.png\" width=\"1329\" height=\"189\" alt=\"image of seventh chords on staff\" class=\"alignnone\" \/><\/a><\/p>\n<\/div>\n<\/div>\n<p>Example 14\u20115 shows the Roman numerals for seventh chords and their qualities in minor keys. Again, any uppercase Roman numeral with a 7 may indicate either a major or major-minor seventh chord quality. In minor keys, major seventh chords include III7 and VI7, whereas V7 (derived from <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_539_1038\">harmonic minor<\/a>) and VII7 (derived from <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_539_1029\">natural minor<\/a>) are major-minor. In addition, when <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_539_1038\">harmonic minor<\/a> is used, viio7 (built on the leading tone) is fully diminished.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 14\u20115. Seventh chords in A minor<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image81.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image81.png\" width=\"1329\" height=\"183\" alt=\"image of seventh chords on staff\" class=\"alignnone\" \/><\/a><\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T32 Roman numerals in major and minor keys (6:58)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-1\" title=\"T32 Roman Numerals in Major &amp; Minor Keys\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/siBP7XzpPg8?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video shows how to determine Roman numerals for triads in major and minor keys.<\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 14-1 Roman numeral identification<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 14-1 Roman numeral identification<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><span>Beneath the staff, label each chord with a Roman numeral, adding figured bass symbols when appropriate.<\/span> Above the staff, label each chord with a lead-sheet chord symbol. The first is done for you.<\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image82.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image82.png\" width=\"1341\" height=\"1115\" alt=\"image of chords written on staff, with blanks above staff for lead sheet symbols and blanks beneath staff for Roman numeral labels. Four sets shown: first set in B-flat major in bass clef, second set in E minor in bass clef, third set in D minor in bass clef, and fourth set in D major in treble clef\" class=\"alignnone\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex14-1-Roman-numeral-identification.pdf\" target=\"_blank\" rel=\"noopener\">Ex14.1 Roman numeral identification<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 14-2 Roman numeral chord construction<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 14-2 Roman numeral chord construction<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">On the staff below or on a separate sheet of staff paper, spell each chord given the key signature, Roman numeral, and figured bass symbol. Remember that sometimes it will be necessary to raise the leading tone in minor keys.<\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image83.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image83.png\" width=\"1397\" height=\"1197\" alt=\"image of blanks staves labeled with key areas and Roman numerals. Four sets shown: first set in C minor in treble clef: two-diminished-six, uppercase five, six, four-six-four, one-six-four, uppercase three, uppercase seven, lowercase seven-diminished-six. Second set in G major in treble clef: three, six-six, two-six-five, five-four-three, one-six, four, seven-half-diminished, five-six. Third set in G minor in bass clef: uppercase three augmented, six-six, two-half-diminished-six-five, uppercase five-seven, one, four-six, lowercase seven-fully-diminished-four-three, uppercase seven-six. Fourth set in B minor in bass clef: four-six-four, lowercase seven-diminished-six-four, uppercase three-six, six-six-four, two-diminished-six, five-four-two, one-six-four, lowercase five-six\" class=\"alignnone\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex14-2-Roman-numeral-chord-construction.pdf\" rel=\"attachment noopener wp-att-1878\" target=\"_blank\">Ex14.2 Roman numeral chord construction<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Supplemental resources<\/h1>\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Supplemental resources for Chapter 14<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/roman-numerals\/\" target=\"_blank\" rel=\"noopener\">Samuel Brady and Kris Shaffer&#8217;s chapter on Roman numerals<\/a> (Open Music Theory)<\/p>\n<p class=\"import-Normal\"><a class=\"rId181\" href=\"https:\/\/milnepublishing.geneseo.edu\/fundamentals-function-form\/chapter\/13-triads\/\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Andre Mount&#8217;s chapter on triads and Roman numerals<\/span><\/a><\/p>\n<p class=\"import-Normal\"><a class=\"rId182\" href=\"http:\/\/musictheory.pugetsound.edu\/mt21c\/RomanNumeralsAndCadences.html\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Robert Hutchinson&#8217;s chapter on Roman numerals<\/span><\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"glossary\"><span class=\"screen-reader-text\" id=\"definition\">definition<\/span><template id=\"term_539_1861\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_539_1861\"><div tabindex=\"-1\"><p>in music theory, a symbol that shows both the scale degree number and the quality of a chord in a key; e.g., in C major, the Roman numeral I represents any C major triad<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_539_1038\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_539_1038\"><div tabindex=\"-1\"><p>scale that features the following interval pattern: whole - half - whole - whole - half - A2 - half<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_539_1029\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_539_1029\"><div tabindex=\"-1\"><p>scale that features the following interval pattern: whole - half - whole - whole - half - whole - whole; also the scale that corresponds with the minor key signature<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_539_1043\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_539_1043\"><div tabindex=\"-1\"><p>scale that has the following interval pattern: ascending whole - half - whole - whole - whole - whole - half; descending whole - whole - half - whole - whole - half - whole; resembles the parallel major when ascending, except for scale degree 3, and resembles natural minor in its descending form<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_539_1867\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_539_1867\"><div tabindex=\"-1\"><p>triad built on the scale degree a whole step below tonic (\"te\" in moveable-do solfege), derived from the natural minor scale<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_539_1868\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_539_1868\"><div tabindex=\"-1\"><p>triad built on the scale degree a half step below tonic (\"ti\" in moveable-do solfege), derived from the major and harmonic minor scales<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><\/div>","protected":false},"author":3,"menu_order":14,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-539","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/539","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":27,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/539\/revisions"}],"predecessor-version":[{"id":7032,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/539\/revisions\/7032"}],"part":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/539\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=539"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapter-type?post=539"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=539"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=539"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}