Reference · Harmony

Chord vocabulary

The Roman-numeral vocabulary used in harmonic dictation, grouped by function — with figured-bass inversions and the chromatic categories for reference.

Major key

Diatonic chords by function

The seven diatonic triads of a major key, grouped by what they do: tonic chords feel at rest, predominants lead toward the dominant, and the dominant pulls back to tonic. Each chord shows its triad inversions; chords that take a diatonic seventh show that too.

Tonic

at rest

Home base. I is the centre of gravity; iii and vi stand in as softer tonic substitutes.

I 5⁄366⁄4
iii 5⁄366⁄4
vi 5⁄366⁄4

Predominant

leads to V

Sets up the dominant. ii (often as a seventh) and IV are the workhorses; vi can also lean predominant.

ii 5⁄366⁄476⁄54⁄34⁄2
IV 5⁄366⁄4

Dominant

pulls to I

Maximum tension, resolving back to tonic. V (often V⁷) and the leading-tone vii° both carry the pull.

V 5⁄366⁄476⁄54⁄34⁄2
vii° 5⁄366⁄4

Inversion figures

The figured-bass shorthand tells you which chord tone is in the bass. Triads use a three-figure ladder; sevenths use a four-figure ladder.

Triad

5⁄3 Root position root in bass

6 First inversion 3rd in bass

6⁄4 Second inversion 5th in bass

Seventh

7 Root position root in bass

6⁄5 First inversion 3rd in bass

4⁄3 Second inversion 5th in bass

4⁄2 Third inversion 7th in bass

Chromatic categories

Beyond the diatonic core sit five families of chromatic harmony. They are shown here as a teaching reference: the harmonic-dictation generator is diatonic for now, so these categories are not yet available to drill — they are coming to the generator later. Color marks the harmonic function so the families stay distinct.

Applied dominants Applied leading-tone Modal mixture Neapolitan Augmented sixths

Applied dominants

V / V⁷ of a chord

A secondary V that tonicises a chord other than I — borrow the dominant of a diatonic target.

V/VV⁷/VV/viV⁷/iiV/IV

Applied leading-tone

vii° / viiø⁷ / vii°⁷ of a chord

A secondary leading-tone chord that points at — and tonicises — a diatonic target.

vii°/Vvii°⁷/Vviiø⁷/iivii°/vivii°⁷/IV

Modal mixture

borrowed from the parallel minor

Chords lifted from the parallel mode recolour a major key — ♭VI, ♭III, iv, and friends.

iiv♭VI♭III♭VIIv

Neapolitan

♭II, usually N⁶

A major triad built on the lowered second degree — most often in first inversion (N⁶) as a predominant.

NN⁶

Augmented sixths

Italian · French · German

Pre-dominant chords with a characteristic augmented-sixth interval that expands outward to the dominant.

It+6Fr+6Ger+6