Is there a such thing as a universal key?

The universal key or universal scale is a concept employed in music theory in which specific notes or chord symbols in a key signature are replaced with numbers or Roman numerals, allowing for a discussion describing relationships between notes or chords that can be universally applied to all key signatures.

en.wikipedia.org - Universal key - Wikipedia

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Different notations Chord function Number Roman

numeral Tonic T 1 I Subdominant S 4 IV Dominant D 5 V The universal key or universal scale is a concept employed in music theory in which specific notes or chord symbols in a key signature are replaced with numbers or Roman numerals, allowing for a discussion describing relationships between notes or chords that can be universally applied to all key signatures. For example, in the key of E-flat major, the notes of the scale would be replaced like so:

E ♭ becomes scale degree 1

becomes scale degree 1 F becomes scale degree 2

G becomes scale degree 3

A ♭ becomes scale degree 4

becomes scale degree 4 B ♭ becomes scale degree 5

becomes scale degree 5 C becomes scale degree 6

D becomes scale degree 7

Triads (common practice style) [ edit ]

When used with chord symbols, the Roman numerals represent the root of a triad built on the associated scale step. In music theory based on the practices of the common practice period and its derivations the chord numerals are often written in upper case for chords in the major family, and in lower case for chords in the minor family, with the usual "m" or "—" minor chord quality suffix omitted outright:

E ♭ becomes I

becomes I Fm 7 becomes ii 7

becomes ii Gm 7 becomes iii 7

becomes iii A ♭ maj 7 becomes IV maj 7

maj becomes IV maj B ♭ 7 becomes V 7

becomes V Cm 7 becomes vi 7

becomes vi Dø7 becomes viiø7

When representing the triads rooted in a minor key, the upper or lower case of the numerals indicate both its chord quality and that the key is minor:

Cm 7 becomes i 7

becomes i D ø7 becomes ii ø7

becomes ii E ♭ becomes III

becomes III Fm 7 becomes iv 7

becomes iv Gm 7 becomes v 7

becomes v A ♭ maj 7 becomes VI maj 7

maj becomes VI maj B ♭ 7 becomes VII7

A major drawback of using this method is its lack of use of accidentals. While in the numeric system, flats and sharps can be represented either by the use of fractions (e.g. an A natural in the scale above becomes 4+1⁄2) or, more commonly in written text, by inserting an accidental before the number (e.g. the same note becomes ♭5 or ♯4).

Triads (jazz and popular style) [ edit ]

In music theory aimed towards jazz and popular music, all triads are represented by upper case numerals, followed by a symbol to indicate if it is not a major chord (e.g. "m" for minor or "ø" for half-diminished):

E ♭ maj 7 becomes I maj 7

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maj becomes I maj Fm 7 becomes IIm 7

becomes IIm Gm 7 becomes IIIm 7

becomes IIIm A ♭ maj 7 becomes IV maj 7

maj becomes IV maj B ♭ 7 becomes V 7

becomes V Cm 7 becomes VIm 7

becomes VIm Dø7 becomes VIIø7

When representing the triads rooted in a minor key, accidentals are used to indicate the chromatic alteration from the assumed major key roots indicated by numerals that don't have accidentals:

E♭ minor:

E ♭ m 7 becomes Im 7

m becomes Im Fm ø7 becomes II ø7

becomes II G ♭ maj 7 becomes ♭ IIImaj 7 (the assumed pitch for the root of a III numeral in E ♭ is G, and the ♭ is required to indicate that, in E ♭ minor, this chord is rooted on G ♭ ) maj becomes IIImaj (the assumed pitch for the root of a III numeral in E is G, and the is required to indicate that, in E minor, this chord is rooted on G ) A ♭ m 7 becomes IVm 7

m becomes IVm B ♭ m 7 becomes Vm 7

m becomes Vm C ♭ maj 7 becomes ♭ VImaj 7

maj becomes VImaj D ♭ 7 becomes ♭ VII7

This will frequently result in numerals whose accidentals are different than those of the actual root note, as they are referring to a change from the assumed pitch and not an absolute pitch:

D minor:

Dm 7 becomes Im 7

becomes Im Em ø7 becomes II ø7

becomes II Fmaj 7 becomes ♭ III maj 7 (the assumed pitch for the root of a III numeral in D is F ♯ , and the ♭ is required to indicate that, in D minor, this chord is rooted on F) becomes III maj (the assumed pitch for the root of a III numeral in D is F , and the is required to indicate that, in D minor, this chord is rooted on F) Gm 7 becomes IVm 7

Is there a such thing as a universal key?

What age is too late to start an instrument?

Is Yousician free?

Different notations Chord function Number Roman

E ♭ becomes scale degree 1

becomes scale degree 1 F becomes scale degree 2

G becomes scale degree 3

A ♭ becomes scale degree 4

becomes scale degree 4 B ♭ becomes scale degree 5

becomes scale degree 5 C becomes scale degree 6

D becomes scale degree 7

Triads (common practice style) [ edit ]

E ♭ becomes I

becomes I Fm 7 becomes ii 7

becomes ii Gm 7 becomes iii 7

becomes iii A ♭ maj 7 becomes IV maj 7

maj becomes IV maj B ♭ 7 becomes V 7

becomes V Cm 7 becomes vi 7

becomes vi Dø7 becomes viiø7

Cm 7 becomes i 7

becomes i D ø7 becomes ii ø7

becomes ii E ♭ becomes III

becomes III Fm 7 becomes iv 7

becomes iv Gm 7 becomes v 7

becomes v A ♭ maj 7 becomes VI maj 7

maj becomes VI maj B ♭ 7 becomes VII7

Triads (jazz and popular style) [ edit ]

E ♭ maj 7 becomes I maj 7

Why is middle C called C4?

What are the challenges of teaching music?

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maj becomes I maj Fm 7 becomes IIm 7

becomes IIm Gm 7 becomes IIIm 7

becomes IIIm A ♭ maj 7 becomes IV maj 7

maj becomes IV maj B ♭ 7 becomes V 7

becomes V Cm 7 becomes VIm 7

becomes VIm Dø7 becomes VIIø7

E♭ minor:

E ♭ m 7 becomes Im 7

m becomes Im Fm ø7 becomes II ø7

m becomes IVm B ♭ m 7 becomes Vm 7

m becomes Vm C ♭ maj 7 becomes ♭ VImaj 7

maj becomes VImaj D ♭ 7 becomes ♭ VII7

D minor:

Dm 7 becomes Im 7

becomes Im Em ø7 becomes II ø7

becomes IVm Am 7 becomes Vm 7

becomes Vm B ♭ maj 7 becomes ♭ VI maj 7

maj becomes VI maj C7 becomes ♭ VII7

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