• In tonal music, the harmonic function of a triad is related to the scale degree on which is built.

• Tonic triad - The chord build on the tonic note (G) in G Major.

• Major triads are indicated with uppercase Roman numbers.

• Minor triads are indicated with lowercase Roman numbers.

Diatonic Triads in Major

• Qualities of diatonic triads in a major key:

  

Diatonic Triads in Harmonic Minor

• The harmonic form of minor is the most used for harmonizing in a minor key.

• Qualities of diatonic triads in harmonic minor:

  

• Subtonic triad - The chord built on the seventh scale degree in natural minor. It’s a major chord, a whole step below the tonic.

• Commonly used triads from natural minor:

  • Major mediant (III)

  • VII

  • Subtonic

• When we compare the qualities in the diatonic major and harmonic minor scales, we find that the major chord and the diminished chord are of the same quality in both.

• When a chord is in first inversion, the note that is the interval of a sixth above the bass is the root.

  • The inversion symbol is a superscript Arabic number 6 placed to the right of the Roman number.

    • Ex. →The C major chord in first inversion, which has the notes E, G, and C in that order. In Roman numeral analysis, this chord would be written as "I6".

• When a chord is in second inversion, the intervals above the bass are a sixth and a fourth. The note that is a fourth above the bass is the root.

  • The inversion symbol is superscript 6/4 added to the Roman number chord symbols.

  • Ex. →C major chord with the notes G-C-E, where G is the lowest note.

Diatonic Seventh Chords

• Seventh chord - Contains four notes. All of them are unstable because the arrangement of tones contains an interval of a seventh.

  • Root

  • Third

  • Fifth

  • Seventh

• Five Basic Seventh Chords

  • Major seventh (major triad + major seventh)

  • Dominant seventh (major triad + minor seventh)

  • Minor seventh (minor triad + minor seventh)

  • Half-diminished seventh (diminished triad + minor seventh)

  • Fully-diminished seventh (diminished triad + diminished seventh)

• A seventh chord in first inversion has the third of the chord in the bass.

  • The root of the chord is the interval of a sixth above the bass.

  • The inversion symbol is 6/5.

    • Ex. → The C dominant seventh chord in first inversion, which is written as "E-G-Bb-C".

• A seventh chord in second inversion has the fifth of the chord in the bass.

  • The root of the chord is the interval of a fourth above the bass, and the added seventh is a third above the bass.

  • The inversion symbol is 4/3.

    • Ex. → The G7 chord in the key of C major, which consists of the notes D-G-B-F.

• A seventh chord in third inversion has the seventh of the chord in the bass.

  • The root of the chord is a second (the inversion of a seventh) above.

  • The inversion is written as 4/2 or 2/1.

    • Ex. → The G7 chord with the notes B-F-G-D.

• An easy way to remember the inversions is the "Inversion Hotline”, 664-765-4342.

• The fully-diminished seventh chord (diminished triad and diminished seventh) occurs on the leading tone in harmonic minor.

• The V7 chord is the same in major and harmonic minor. It only occurs on the dominant.

Figured Bass

• Figured bass - Consists of the bass line and the Arabic numbers under the bass line that represent the intervals above the bass to be played.

  • The voicing of the chord and the linear movement of each line is determined by the performer.

• Purpose of inversion symbols - To indicate the lowest-sounding note within a chord.

• The Arabic numbers used in inversions indicate the same thing when used as part of figured bass but the added accidentals, slashes, or plus signs that may be part of figured bass are not included in inversions.

• Chords to use when harmonizing: