Harmonic Analysis - Basic Concepts

By applying Roman numerals to the chords of a harmonized scale, a comparison of chord progressions can be made and the theory behind a chord's function, called Chord Scale Theory, can be learned.

This book uses Uppercase Roman Numerals Only to identify a chord's function within its harmonized chord scale as the default chord type for a given chord should already be known from its chart.

These names are commonly used to indicate a chord's position and function within its corresponding major scale.

Tonic-Dominant Harmony

This series, the book Harmonic Analysis for Chord Substitution and Scale Selection by Curt sheller focuses on Tonic-Dominant harmony predominant in Western music and a staple of a contemporary musician's repertoire. Tonic-Dominant harmony stresses the use of key centers which are defined by the use of a Tonic (I) chord. These tonic chords are usually preceded and supported by a Dominant (V) chord. A dominant chord is sometimes preceded by the Subdominant (IV) chord which tends to resolve towards the dominant chord which either resolves to the tonic chord or goes back to the subdominant, delaying final resolution to the tonic chord.

A tonic chord is a passive chord having a feeling of rest and resolution. A dominant chord is an active chord having a feeling of restlessness and tends to be drawn to its tonic I chord.

An active chord is a triad that contains the fourth of its scale. A passive chord is a triad that contains the third of the scale.

Most progressions are tonal with at least one key center being established. Songs can and do modulate through multiple key centers. Many of the songs that are considered part of the standard jazz repertoire modulate through several key centers. Most folk and rock songs establish a main key center and do not modulate to other key centers.