Music Roman Numeral Analysis

Question 1

v

Answer 1

Minor 5 chord

Dominant

Functions as 5th degree scale of natural minor.

Question 2

bVI

Answer 2

Flat Major 6th Chord

Submedient

Functions as 6th degree of harmonic minor scale

Question 3

V

Answer 3

Major 5th chord

Dominant

Functions as 5th degree of both Major and harmonic and melodic minor scales

Question 4

IV

Answer 4

Major 4 chord

Subdominant

Functions as 4th degree of The Major Scale and melodic minor scale

Question 5

viio. Or viio6

Answer 5

Diminished 7 degree chord

Functions as 7th degree of major, harmonic and melodic scales . It can also be substituted for a dominant chord because most theorist consider it really a dominant function and not a chord in its own right.

Diminished chords are almost alway in first inversion so this chord would usually be seen as viio6, this is due composers disliking the tritone produce when in both root position and second inversion. The bass must be doubled.

Question 6

viio or viio6

Answer 6

seventh degree chord

Leading tone

Functions as 7 degree in harmonic minor melodic minor and major scale.

Notice it is not flat because the seventh is raised in harmonic minor. In addition all diminished chords are in first inversion with a viio6 or viio6/3 in four part writing plus the bass or 3rd is usually doubled.

Question 7

bIII

Answer 7

Flat major 3rd degree chord

Mediant

Functions as third degree of natural minor scale

Question 8

bIII+

Answer 8

Flat augmented 3 chord

Functions as 3rd degree of both harmonic and melodic minor scales. This chord though is often avoided in baroque music due to voice leading. Also in harmonic minor when it is used it is substituted with a bIII major instead of augmented.

Question 9

vi

Answer 9

Minor 6 chord

Submediant

Functions as the sixth degree of major scale.

Any chord tone in minor can be doubled however root is best doubled then after 5th. If a chord tone has to be omitted than the 5th is preferably omitted.

Question 10

iio or iio6

Answer 10

Diminished 2 degree chord

Supertonic

Functions as second degree of harmonic minor and natural minor

Usually in first inversion and the 3rd or bass is doubled

Question 11

ii

Answer 11

Minor 2 chord

Supertonic

Functions as the second degree of both major and melodic minor scale.

Supertonic chords are considered with the subdominant family

The fifth of this chord is the sixth degree and since in melodic minor the 6th degree is raised this chord changes from diminished ii from harmonic minor to minor ii from melodic minor due to fifth of the chord being raised.

Question 12

vio

viØ7

Answer 12

Diminished six chord

This chord functions as the raised sixth degree of melodic minor. I say raised sixth because in harmonic or natural minor the sixth degree is b or flattened.

Question 13

bVII

Answer 13

Flat major 7 chord

Functions as the seventh chord in natural minor

Question 14

V6/4

Answer 14

Second inversion Dominant or fifth degree chord. Usually functions as a passing six-four chord where 1 chord in root position is followed by the V6/4 chord than followed by 16 chord in first inversion creating a passing tone in the bass between the “C” note in I and the “E” note in I6.

Question 15

I6/4 or i6/4

Answer 15

This is called a cadential six four chord. This will precede the fifth degree chord of the scale and is usually considered part of the the dominant chord. This chord can also occur after a secondary dominant preceding the chord to be tonicized.

No chord tones in second inversion should be omitted and the bass must be doubled.

Question 16

V6/4

Answer 16

Second inversion Dominant or fifth degree chord. Usually functions as a passing six-four chord where 1 chord in root position is followed by the V6/4 chord than followed by 16 chord in first inversion creating a passing tone in the bass between the “C” note in I and the “E” note in I6.

Question 17

I6/4 or i6/4

Answer 17

This is called a cadential six four chord. This will precede the fifth degree chord of the scale and is usually considered part of the the dominant chord. This chord can also occur after a secondary dominant preceding the chord to be tonicized.

No chord tones in second inversion should be omitted and the bass must be doubled.

Question 18

V6 or v6

Answer 18

The fifth chord can be in first inversion however make sure the soprano or melody does not contain the leading tone, because the n first inversion chords any note can be doubled except leading tone.

Question 19

N or N6

Answer 19

Neopolitan Chord

This is in the predominant chord family along side subdominants, and augmented sixth chords as it precedes the dominant chord.

It’s root is built off the chromatically flattened root of the minor mode iio chord. The chord formula is b2^ 4^ b6^. This therefore creates a major chord and is usually in first inversion.

Question 20

viio

Answer 20

diminished 7 chord

Leading tone chord

Functions as diminished 7 chord in both harmonic no melodic minor scale as well as major scale.

Question 21

vio or vio6

Answer 21

Diminished 6 chord

Submedient

This chord functions as diminished 6 chord in melodic minor. Diminished chords are usually in first inversion with the bass doubled in voice leading

Question 22

bVII

Answer 22

Major 7 chord

Subtonic chord

Functions as major 7 degree chord in natural minor scale

Question 23

iv

Answer 23

Minor fourth degree chord

Subdominant

Functions as minor iv chord natural minor scale and harmonic

Question 24

Major 7 chord

M7

Answer 24

Found in

Major Scale
I/Tonic 
IV/Subdominant 
Natural minor
bIII/Medient
bVI/Submedient 
Harmonic minor
bVI/Submedient

Question 25

minor 7th chord m7

Answer 25

Found in ``` Major ii/supertonic iii/medient vi/submedient Natural minor i/tonic iv/subdominant v/dominant Harmonic minor iv/subdominant Melodic Minor ii/supertonic ```

Question 26

mM7 minor Major 7th

Answer 26

Minor Major 7th 1 m3 5 M7 Found as i chord both in harmonic minor and melodic minor.

Question 27

+M7 Augmented Major 7th Chord

Answer 27

Augmented Major 7th Chord Functions as the medient in both harmonic and melodic minor scale Medient is the III+

Question 28

Half diminished 7th chord minor 7th flat 5 chord

Answer 28

Minor flat 5 chord ``` Found in Major viiØ7 Natural minor iiØ7 Harmonic minor iiØ7 melodic minor viØ7 viiØ7 ```

Question 29

Dominant 7th chord Major minor 7th chord

Answer 29

Dominant function chord with an added b7th degree ``` Major scale V7 Natural Minor VII7 Harmonic Minor V7 Melodic Minor IV7 V7 ```

Question 30

Fully diminished 7th Chord

Answer 30

Fully diminished 7th 1 b3 b5 bb7 Found diatonically in harmonic minor as viio7

Question 31

Major Scale Roman Numerals

Answer 31

I ii iii IV V vi vii In 7ths ``` I M7 ii m7 " iii m7 IV M7 V 7 "can be altered with #,b 5th, 9th, 11th, 13th vi m7 vii Ø7 ```

Question 32

Melodic scale Roman numeral

Answer 32

i ii III+ IV V vio viio In 7ths ``` i mM7 minor major 7th "melodic minor" ii m7 "Dorian b2" III+ +M7 "Lydian Augmented" IV 7 "Lydian Dominant" V 7 "Mixolydian b6" vi Ø7 "Locrian natural 2" vii Ø7 "Super Locrian" ```

Question 33

Harmonic minor scale Roman numerals

Answer 33

i iio III+ iv V VI

Question 34

Natural Minor Scale

Answer 34

``` i m7 ii m7b5 bIII Maj7th iv m7 v m7 bVI Maj7 bVII Dom7th ```

Question 35

Minor Scale Chords natural

Answer 35

``` i iio bIII iv v bVI bVII ```