In music theory, a minor chord is a chord that has a root, a minor third, and a perfect fifth. When a chord comprises only these three notes, it is called a minor triad. For example, the minor triad built on A, called an A minor triad, has pitches A–C–E:
In harmonic analysis and on lead sheets, a C minor chord can be notated as Cm, C−, Cmin, or simply the lowercase "c". A minor triad is represented by the integer notation {0, 3, 7}.
In music, the supertonic is the second degree (
) of a diatonic scale, one whole step above the tonic. In the movable do solfège system, the supertonic note is sung as re.
The triad built on the supertonic note is called the supertonic chord. In Roman numeral analysis, the supertonic chord is typically symbolized by the Roman numeral "ii" in a major key, indicating that the chord is a minor chord (in C: D–F–A). In a minor key, it is indicated by "ii," indicating that the chord is a diminished chord (in C: D–F–A♭). Because it is a diminished chord, it usually appears in first inversion (ii) so that no note dissonates with the bass note.
Musicians use various kinds of chord names and symbols in different contexts to represent musical chords. In most genres of popular music, including jazz, pop, and rock, a chord name and its corresponding symbol typically indicate one or more of the following:
For instance, the name C augmented seventh, and the corresponding symbol C, or C, are both composed of parts 1 (letter 'C'), 2 ('aug' or '+'), and 3 (digit '7'). These indicate a chord formed by the notes C–E–G–B. The three parts of the symbol (C, aug, and ) refer to the root C, the augmented (fifth) interval from C to G♯, and the (minor) seventh interval from C to B♭.
In music theory, Roman numeral analysis is a type of harmonic analysis in which chords are represented by Roman numerals, which encode the chord's degree and harmonic function within a given musical key.
Specific notation conventions vary: some theorists use uppercase numerals (e.g. I, IV, V) to represent major chords, and lowercase numerals (e.g. ii, iii, vi) to represent minor chords. Others use uppercase numerals for all chords regardless of their quality. (As the II, III, and VI chords always are minor chords and the VII always diminished, a further distinguishment is thought unneeded, see table for Major Diatonic scale below)
In music, the subdominant is the fourth tonal degree (
) of the diatonic scale. It is so called because it is the same distance below the tonic as the dominant is above the tonic – in other words, the tonic is the dominant of the subdominant. It also happens to be the note one step below the dominant. In the movable do solfège system, the subdominant note is sung as fa.
The triad built on the subdominant note is called the subdominant chord. In Roman numeral analysis, the subdominant chord is typically symbolized by the Roman numeral "IV" in a major key, indicating that the chord is a major triad. In a minor key, it is symbolized by "iv", indicating that the chord is a minor triad.
Figured bass is musical notation in which numerals and symbols appear above or below (or next to) a bass note. The numerals and symbols (often accidentals) indicate intervals, chords, and non-chord tones that a musician playing piano, harpsichord, organ, or lute (or other instruments capable of playing chords) should play in relation to the bass note. Figured bass is closely associated with basso continuo: a historically improvised accompaniment used in almost all genres of music in the Baroque period of Classical music (c. 1600–1750), though rarely in modern music. Figured bass is also known as thoroughbass.
Other systems for denoting or representing chords include plain staff notation, used in classical music; Roman numerals, commonly used in harmonic analysis; chord letters, sometimes used in modern musicology; the Nashville Number System; and various chord names and symbols used in jazz and popular music (e.g., C Major or simply C; D minor, Dm, or D−; G, etc.).