In C Major, the (natural) chords are C-d-e-F-G-a-b0 where upper case numbers are used for major and augmented chords and lower case for minor and diminished chords (augmented chords get a superscript + and diminished chords … When you don't have a key try and figure out what key fits the chords best. The confusion starts happening once people start re-labeling the chords for minor keys. I’ve been playing in bands and studying the fretboard since I was 11. You can write happy songs with the white keys, or you can write sad songs. Roman numeral analysis and chord notation. This video was very timely for me, and as usual an excellent tutorial. Take for example a I – V – vi – IV in the key of D major, which would be: Now, let’s say that you’re singer is unable to sing this song in the key of D major; he asks if you can play the song in C major instead. The sequence of chords in minor keys has the same types of chords as majors but in a different order. It is because every major key has a corresponding relative minor key, and vise-versa. Chord progressions are usually labeled with a series of Roman numerals where each numeral corresponds to a chord in the progression. vi – Bm. Roman numerals notate chords within a key, as opposed to individual notes/intervals. For each progression I’ve given you the chord’s functional names – roman numerals that show which degree of the scale the chord’s root is, and also the type of chord it is. Anytime any other variation of these chords is used, it would no longer be completely diatonic to the key. 0:00 – Lesson Intro G – 4 This Chord Progression Map guides you through scores of possible chord progressions that you can use as the harmonic basis of your own songs. There is no need for the dash (-) thing though, since the UPPERCASE and lowercase thing always applies to major and minor chords, respectively. This diagram shows you chords grouped according to their function and shows you links from one group to another according to standard Diatonic harmonic rules. I’m confident (as you’ve said in other lessons) that if practiced/studied enough, they will become second nature to me. The numerals are based on the scale pattern of the diatonic scale. 3 – F# minor – F# A C# FMaj7 is a quick passing chord. Roman numerals that is. I could call a G major chord a “Z sharp 17” chord, but that wouldn’t change the sound of the chord. Let’s take this Am – F – C – G progression and assign numbers based on the minor perspective: Well, some people may say that isn’t entirely accurate because the numbers should coincide with the scale formula of the scale from which the chords are derived. But to identify the first, or tonic note or chord as the fist interval is just not true. The Roman Numeral System. Up until this point I was only familiar with the Roman numeral numbering system. Roman numerals have been used for over 3,000 years. Parts I and II deal entirely with diatonic chord progressions, while Parts III and IV deal with progressions that use non-diatonic [borrowed] chords. The fifth row is the Function of each chord. Therefore the difference between these numbering systems is simply in the way that musicians communicate with one another. Uppercase Roman numerals are for chords that are Major chords. I learned tons with this. However just realize that these rules can be applied to any key. Chord I is a major chord, chord ii is a minor chord, iii is minor, IV is major, V is major, vi is minor and vii° is a diminished chord. Only Roman Numerals 1-7 are used For example: I, II, III, IV, V, VI, VII. Ah no…it doesn’t matter if you use roman numerals or just the numbers that we use today. What a well produced and thorough video on this topic.! 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