![]() ![]() ![]() ![]() Although the second approach is commonly used in the analysis of Western art music from the common-practice period (c. If the site developers do indeed prefer use of the second approach, I would suggest they strongly reconsider in favor of the third approach (encoding in the key of the parallel major). Nonetheless, many users specifically go against this approach, putting the song in the parallel major to get “flat” chords in a minor key. That being said, this web site shows tacet acceptance of the second method, since this is the way that the chords for minor keys are presented as an encoding default. I have searched for guidelines in the help materials and this forum as to which approach is preferred, but I have not been able to find clear guidance. Encode in the parallel major, i.e., i, bVII, bVI, V.Encode using traditional Roman numerals, i.e., i, VII, VI, V.Encode in the relative major, i.e., vi, V, IV, III.I list these three approaches below, using the example of the chord progression Am, G, F, and E in the key of A minor. I see three main approaches used throughout the site. This is very frustrating, especially if one hopes to explain harmony in a consistent way. The Hooktheory web site does not appear to have a consistent approach with regard to how to handle Roman numerals in minor keys. ![]()
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