The addition of available extensions to chords is a matter of personal preference and reflects the underlying context in which specific chords occur. The practice of adding extensions or reinterpreting chords is similar to that of interpreting unfigured basses from the Baroque period. There are, however, many musical situations where more detail is desired, such as when a composer or arranger wants a specific sound or voicing. In those types of situation, a chord symbol might include more detailed information about chordal HARMONIC FUNCTION 29 extensions, note omissions, or even a specific arrangement of notes. These chord symbols typically stand out among other, more conventionally written chords. Given the very different notation systems being used, we can start thinking more rigorously about our own notational choices. In Figure 3.6, the tonic chord in root position is notated with a “I5 3” symbol. In practice, however, a “I” will be used without the Arabic numbers because they are assumed. Also, in notating a chord in first inversion, the Roman numeral representation has already been simplified: instead of a complete “I6 3” symbol, the “I 6 ” symbol was used. Roman numerals might also include “Ω,” “≥,” and “≤.” Written in front of the Roman numeral, these accidentals indicate chromatic scale degrees in relation to the underlying key. To notate major chords, upper-case Roman numerals will be implemented, and to notate minor chords, lower-case Roman numerals will be used. A diminished triad will take a lower- case Roman numeral with a small raised circle, viio ; an augmented triad will use an upper- case Roman numeral with a small plus sign, III+ .