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rbarata · Post by **rbarata** » Thu Apr 07, 2011 5:43 pm

Hello my friends

I can't find any site explaining the All Uppercase Roman Numerals Analysis.

Anyone knows one?

Thank you

manducator · Post by **manducator** » Thu Apr 07, 2011 6:06 pm

I don't understand the question, I'm afraid.

You wanna know about I II III IV V VI and VII chords?

Here is some explanation:

www.musictheory.net

rbarata · Post by **rbarata** » Thu Apr 07, 2011 6:11 pm

Ok, let me explain better...

usually, when one uses roman numerals , the uppercases refer to major chords and the lower to minor.
But there is another form of numerals which uses only uppercases and is used in contemporary harmony.

In all the searches I've done I couldn't find nothing but tradicional harmonic, i.e., upper and lower cases mixed.

manducator · Post by **manducator** » Thu Apr 07, 2011 6:29 pm

Mmmh, don't know that. Maybe you are referring to the Nashville number system?

http://www.kyleoneal.com/wp-content/upl ... System.pdf

Or otherwise you can use the circle of fifths and only use the major chords, which are on the outside of the chart.

Bobbotov · Post by **Bobbotov** » Thu Apr 07, 2011 6:33 pm

rbarata wrote:Ok, let me explain better...

usually, when one uses roman numerals , the uppercases refer to major chords and the lower to minor.
But there is another form of numerals which uses only uppercases and is used in contemporary harmony.

In all the searches I've done I couldn't find nothing but tradicional harmonic, i.e., upper and lower cases mixed.

You must have found some information somewhere to know to ask the question. So, where did you hear about it originally?

rbarata · Post by **rbarata** » Thu Apr 07, 2011 6:44 pm

I heard about it in another forum but couldn't find any other info.

Hence why I'm asking here.

Bobbotov · Post by **Bobbotov** » Thu Apr 07, 2011 6:51 pm

rbarata wrote:I heard about it in another forum but couldn't find any other info.

Hence why I'm asking here.

Sorry to be obvious, but why don't you ask the person who posted it in the other forum?

rbarata · Post by **rbarata** » Thu Apr 07, 2011 9:37 pm

Sorry to be obvious, but why don't you ask the person who posted it in the other forum?

I did but got no answer.

JumpingJackFlash · Post by **JumpingJackFlash** » Fri Apr 08, 2011 11:05 am

rbarata wrote:I can't find any site explaining the All Uppercase Roman Numerals Analysis.

Instead of using uppercase numerals for major (and augmented) chords and lowercase for minor (and diminished) chords, some people just use uppercase for both.

In diatonic harmony this can make things easier. It relies on people knowing that, for example, in any major key, chords I, IV and V are always major, VII is diminished and the rest are minor.

(For example, I can talk about the perfect cadence being V-I without also having to specify that it could be V-i)

Other than that, there is no difference between the two systems, they work exactly the way.

rbarata · Post by **rbarata** » Fri Apr 08, 2011 11:50 am

In diatonic harmony this can make things easier. It relies on people knowing that, for example, in any major key, chords I, IV and V are always major, VII is diminished and the rest are minor.

Right!

But, for example, when working in a minor scale, you must use the uppercase numerals and put, next to them, if it's minor, dim, etc, always using the major scale as the intervalic reference.

One of my doubts is: when refering to chords in the major scales do I have to specify the chord quality as in minor scale's chords? Because it's assumed that you already know the major scale's chords quality (used, as I said before, as "the reference"), I guess it's not necessary to specify it (your post makes it implicit, just to check

).

Gamma-UT · Post by **Gamma-UT** » Fri Apr 08, 2011 12:19 pm

rbarata wrote:
Sorry to be obvious, but why don't you ask the person who posted it in the other forum?
I did but got no answer.

Can't you just post a link to the other forum? They might mean that all the chords should be major; they may simply have got it wrong. It's hard to know without an example.

rbarata · Post by **rbarata** » Fri Apr 08, 2011 1:19 pm

Can't you just post a link to the other forum? They might mean that all the chords should be major; they may simply have got it wrong. It's hard to know without an example.

No, it's not a mistake. This exists. It belongs to Contemporary Harmony (opposed to Traditional Harmony).
The problem is that most people use traditional harmony analysis.
What I'm looking for is a bit more difficult to understand at first because it is a different approach to chords and scales (the reference is the major scale, regardless of the scale you're in.

I've been looking for this in the past 3 days and couldn't find much info...but it seems that JumpingJackFlash knows something about it.

Gamma-UT · Post by **Gamma-UT** » Fri Apr 08, 2011 1:45 pm

rbarata wrote:
Can't you just post a link to the other forum? They might mean that all the chords should be major; they may simply have got it wrong. It's hard to know without an example.
No, it's not a mistake. This exists. It belongs to Contemporary Harmony (opposed to Traditional Harmony).
The problem is that most people use traditional harmony analysis.
What I'm looking for is a bit more difficult to understand at first because it is a different approach to chords and scales (the reference is the major scale, regardless of the scale you're in.

I've been looking for this in the past 3 days and couldn't find much info...but it seems that JumpingJackFlash knows something about it.

JJFlash was referring to conventional tonal harmony.

I've no idea what specifically you're looking for because you seem unable or unwilling to provide a reference or a link that would help you explain what you're after.

Bobbotov · Post by **Bobbotov** » Fri Apr 08, 2011 1:47 pm

I would love to see a comparison of traditional harmony versus contemporary harmony in any notation system as I have no idea what that means.

Gamma-UT · Post by **Gamma-UT** » Fri Apr 08, 2011 1:51 pm

Bobbotov wrote:I would love to see a comparison of traditional harmony versus contemporary harmony in any notation system as I have no idea what that means.

I think he means post-tonal vs tonal.

Although it's quite ironic being told that the OP's Q is about "contemporary harmony" when I actually used an example of "contemporary harmony": the chord planing used by Debussy and Satie, among others.