Versuch einer geordneten Theorie der Tonsetzkunst, vol. History Gottfried Weber's description of the Roman numerals employed on each degree of the major and minor scales, triads at the left and sevenths at the right. Roman numerals thus abstract chord progressions, making them independent of key, so they can easily be transposed.
On the other hand, in the key of A major, the I 7, IV 7, and V 7 chords would be A 7, D 7, and E 7. So the I 7, IV 7, and V 7 chords are C 7, F 7, and G 7. In the key of C major, the first scale degree ( tonic) is C, the fourth ( subdominant) is F, and the fifth ( dominant) is a G. For instance, the standard twelve-bar blues progression uses the chords I (first), IV (fourth), V (fifth), sometimes written I 7, IV 7, V 7, since they are often dominant seventh chords. In pop, rock, traditional music, and jazz and blues, Roman numerals can be used to notate the chord progression of a song independent of key. In Western classical music in the 2000s, some music students and theorists use Roman numeral analysis to analyze the harmony of a composition. However, some music theorists use upper-case Roman numerals for all chords, regardless of chord quality. Typically, uppercase Roman numerals (such as I, IV, V) are used to represent major chords, while lowercase Roman numerals (such as ii, iii, vi) are used to represent minor chords (see Major and Minor below for alternative notations). For instance, III denotes either the third scale degree or, more commonly, the chord built on it. More commonly, however, they represent the chord whose root note is that scale degree. In some cases, Roman numerals denote scale degrees themselves. In music theory, Roman numeral analysis is a type of musical analysis in which chords are represented by Roman numerals (I, II, III, IV, …). Using lead sheet chord names, these chords could be referred to as A minor, D minor, G major and C major. The chord progression vi–ii–V–I in the key of C major.
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