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My preference, and I think it's the more contemporary style, it to user upper/lower case to show chord quality. Using all upper case (and sometimes only Roman numerals) seems to be an older analysis s …

Any mode or scale can be built on any tonic. So, yes, you can have D mixolydian... or D flat mixolydian, C mixolydian, etc. etc. If you have analyzed the song to have a D tonic and is mixolydian in mo …

Reimann is apparently the original source for tonic, subdominant, dominant definition of functional harmony... ...that seems to be the basis of talking about 'functionality' on other levels. Like t …

Let's start with the excerpt... The key signature is zero sharps/flats, and the beginning harmony is Am & E with the final close E to Am so the key is A minor. The D♯ of the opening two bars is a dec …

...interpreted in terms of harmony I suppose you mean an interpretation according to common practice or functional harmony. But that isn't the only way to analyze harmony. I think it might help to t …

TLDR; a sharp or flat before numeral mean raise or lower the chord root from its normal diatonic spelling In the usual Roman numeral analysis we have these conventions: First we have to give a l …

Even in tonal music every chord does not need to have a functional role. Beside the possibility of mixing tonal and non-functional harmony, the obvious case would be a passing chord. | Cm7 | Em7b5 | …

EDIT I'm revising my answer, because from OP comments I now understand the question isn't simply about Riemann function. I see potentially three definitions for "function": Riemann function, mathema …

Not really an answer, but I want to add a diagram to go with @Richard's answer. I didn't really understand the Schenkerian part, but I found a diagram that made it clear to me... RODNEY GARRISON, …

I think the basic theory idea you are looking for is that each tone of a diatonic scale (exluding TI and MI) can be chromatically altered, raised a half step, to become a temporary leading tone to the …

I think this is the chart... | ii V | I V vi | | ii V | I III VI7 | | ii V | I ...I'm not exactly sure of your barlines. The part I V vi can be called a deceptive progression. The part I-III …

| C | Ebmaj7 Dm7 | C | Ab Gm7 ...And then the verse starts on a C chord. It isn't clear if the verse is in C major or just starts on a C major chord. Knowing what happens in the verse might help …

There is a section of that page called "what is this site for?" http://www.tonalcentre.org/index.html#what%20is%20site%20for ...My theoretical style is unconventional and some of the concepts I i …

Tonicization using a secondary dominant versus modulation defined by a cadence is pretty much how I understand the distinction. For all practical purposes tonicization with a secondary dominant would …

From just VII III... no. You need more context. In some kind of circle of fifths or other sequential passage, it doesn't necessarily make sense to label any descending fifth progression as a key chang …