Re: What's the relation****p between scales and chords?

"Neil" <nhmiller@[EMAIL PROTECTED]
> wrote in message 
news:9b2bf7f8-eef5-4495-b9e0-467d683d7a99@[EMAIL PROTECTED]
> On Feb 26, 2:57 am, Dylan <DDawso...@[EMAIL PROTECTED]
> wrote:
> Another notation, that can be very helpful in understanding how music
> is constructed, uses Roman
> Numerals from I to VII. The Roman Numerals indicate the step of the
> scale from which you start
> playing every other note to form the Triad, and add the same Extension
> that regular chord symbols
> use. So if the music is presently in the key of C ...
> instead of writing Cmaj7 you would write Imaj7
>

Neil, you've missed an im****tant distinction between conventional lead
sheet 
(L.S.) chord symbols and Roman Numeral symbols.  L.S. symbols are 
descriptive only - that is, they simply indicate what pitch cl***** are 
present and which is the root.  Roman Numerals, on the other hand indicate

the function of a chord within a key.  If your book doesn't differentiate 
between the two, you run the risk of seriously confusing the student who 
wishes to go further than simply labelling chords.

(Snip)
> Using the Numeral system ...
> instead of writing Dm7 you would write IIm7
> This system requires that you notate or are aware of the
> chords' associated scale because the system is dependent
> on the particular key the music is presently in.

Using II for supertonic hasn't been done for nearly forty years.  The
lower 
case ii is used for a minor supertonic and iio (the o should be
superscript) 
for a diminished supertonic.  These are known as qualitative Roman
Numerals 
as they indicate chord quality as well as scale degree root, and are 
commonly used by those professional musicians who have a need for
analytical 
chord symbols.

Have you examined any of current classical theory texts such as those by 
Robert Gauldin; Benjamin, Horvit & Nelson; Kostka & Payne, etc.?

Tom K.