Roman Numeral Analysis
When typeset in published materials, Roman numeral analysis uses special characters and typographical features that have long presented challenges for music theorists standard computer applications like word processors. While modern web publishing provides flexible tools which allow these features, Music Theory 21c proposes — and uses — a standard format for Roman numeral analysis that can be easily used in any standard application and font family.
Formatting
The format used in Music Theory 21c is described in the tables below.
Accidentals
Many modern fonts now include the standard accidental symbols which can be accessed through extended character utilities; Music Theory 21c uses the traditional symbols in most cases. However, the most commonly-used substitutes — the lowercase b for flat and the number sign, #, for sharp — can be easier in many cases.
Pitches should be written in uppercase when possible; necessary exceptions — such as bb to represent a key of B flat minor — can be understood from context. A lowercase n can be used in place of the natural symbol when the letter name itself is not sufficient, and the double sharp can be denoted with either two number signs or a lowercase x.
| Description | Symbol | Example |
|---|---|---|
| Flat | b | Gb, Db |
| Sharp | # | F#, C# |
| Natural | n | En, Bn |
| Double Flat | bb | Abb, Dbb |
| Double Sharp | ## or x | G##, Cx |
Chord Type
For chord types, the traditional use of case to denote major and minor is followed. A lower case o is used to replace the degree symbol for diminished chords, and the slashed degree symbol for half-diminished chords is replaced with either the lowercase slashed o, ø, or the percentage sign.
| Description | Symbol | Example |
|---|---|---|
| Major Chords | uppercase letters | I, IV |
| Minor Chords | lowercase letters | iii, vi |
| Diminished and Fully Diminished Chords | o | iio, viio7 |
| Half-Diminished Chords | ø or % | iiø7, ii%7 |
| Augmented Chords | + | III+, V+ |
Inversions
Numbers used to show inversions, which are traditionally stacked vertically to the right of a roman numeral or letter name, are instead placed in sequence, starting with what would be the topmost number and moving downward. The numbers are not separated with spaces or slashes.
| Description | Symbol | Example |
|---|---|---|
| Root Position Triad | [no numeral] | iii, V |
| First Inversion Triad | 6 | I6, viio6 |
| Second Inversion Triad | 64 | i64, V64 |
| Root Position Seventh Chord | 7 | I7, viio7 |
| First Inversion Seventh Chord | 65 | V65, iiø65 |
| Second Inversion Seventh Chord | 43 | iv43, III43 |
| Third Inversion Seventh Chord | 42 or 2 | vi42, V2 |
Other Situations
Special situations regarding chromatic chords, jazz and popular harmonies, and other concepts are shown below.
| Description | Example |
|---|---|
| Secondary Chords | V/V, viio7/ii |
For secondary chords, spaces should not be placed between the chords and the slash. Note that the case of the roman numeral to the right of the slash should correspond with its corresponding diatonic chord.
| Description | Example |
|---|---|
| Altered Root Chords | bVI, #V |
In altered root chords, note that the accidental indicates alteration from the diatonic, not the actual pitch used.
| Description | Example |
|---|---|
| Neapolitan Chord | N, N6 |
| Augmented Sixth Chords | It, Fr, Ger |
| Description | Example |
|---|---|
| Pivot Chords | A: V6 | B: IV6 |
Whenever possible, place multi-key analyses on different lines; the pipe notation shown above should only be used when necessary.
| Description | Example |
|---|---|
| Jazz and Popular Chord Types | Gmaj7, Edom7#9 |
| Jazz and Popular Chord Extensions | D^b7#9, Db^7#9 |
The abbreviation maj should be used in place of the single M or a triangle, and min instead of m or -. When necessary for clarity, the caret symbol should be used to separate the chord root and extensions.