Matt.Guitar

Hey all,
I'm just working on a bit of 4 part harmony for an upcoming theory test and have stumped myself.

How do I express extended chords such as dominant 9th chords and slash chords such as Bbm/C in roman numerals?

Thanks for your help.

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chronowarp

If you're doing common practice period part writing, you should never see dominant 9ths...or weird slash chords.

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Matt.Guitar

OK thanks, but what if I wanted to? How would I express them?

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Xiaoxi

There are no "extended chords" because they don't view harmony that way. You're thinking about it vertically. They view it horizontally. ie the 9th is just a suspension from a previous harmony that's waiting to resolve.

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chronowarp

You could just put V9 for a dominant 9th to get the point across.

For a slash chord you could just write the chord's roman numeral/the bass notes roman numeral, but I don't think that'd be effective in simply demonstrating what you want.

Again, you're sort of trying to apply a system of analysis that isn't meant for certain things. It's like trying to put the triangle in the square hole.

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Matt.Guitar

Thanks for this info both of you.
I've stumped myself I guess because I don't want to just do a standard perfect cadence with 1 3 5 and b7. I want a flat 9 and an 11 in there which is what the Bbm/G gives me.

EDIT - Bbm/C not G

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chronowarp

You say you're working on your 4 part writing for a theory test. Like a college theory test? In that case, you need to be thinking in terms of triads, and some basic 7th chords. Extended harmony isn't part of the vocabulary, and it's going to complicate part writing issues for you in terms of good voiceleading - avoiding parallel perfect intervals and whatnot.

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Angusman60

"Slash" chords in this type of writing would be analyzed as an inversion. In Baroque writing, you probably won't find this, but if you were to do a macro analysis of later works, you will find these things. ie B/A would be V4/2. Or, it would be analyzed as a pedal tone. It could also be part of a passacaglia.

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chronowarp

It's hard to write something as inversion if it's extended beyond a 7th, and isn't even a chord tone.

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