Roman Numeral Treatment of Suspensions The Next CEO of Stack OverflowHarmony and roman numeral analysis: how to deal with chromaticism?Roman numeral notation for a suspended chord?Identifying Modulations in Roman Numeral AnalysisExtra accidents in Roman Numeral analysis in Modulation by Max RegerConsecutive fourths in melodic motionRoman Numeral Chords with SlashOrigin of Roman Numeral AnalysisRoman numeral anaysis helpRoman Numeral Analysis of Tension-Heavy JazzUsing Roman Numeral Notation with Notes in the Bass (not figured bass)
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Roman Numeral Treatment of Suspensions
The Next CEO of Stack OverflowHarmony and roman numeral analysis: how to deal with chromaticism?Roman numeral notation for a suspended chord?Identifying Modulations in Roman Numeral AnalysisExtra accidents in Roman Numeral analysis in Modulation by Max RegerConsecutive fourths in melodic motionRoman Numeral Chords with SlashOrigin of Roman Numeral AnalysisRoman numeral anaysis helpRoman Numeral Analysis of Tension-Heavy JazzUsing Roman Numeral Notation with Notes in the Bass (not figured bass)
My question today stems from me having difficulty assigning a roman numeral to a chord which either has a suspension (please see below)
Or when there is melodic motion in the bass (please see below)
In the first case (both examples in C major by the way), do we simply call this a vi chord and call it a day? Or, because the D in the soprano line is sounded, is this a viadd4 chord? Similarly, in the example with the C-D motion in the bass, is this just a I chord? Or is this a one chord that becomes something else--something that I wouldn't even know how to name?
theory harmony analysis roman-numerals
edited 2 days ago
replete
3,7971028
asked 2 days ago
286642286642
979
add a comment |
My question today stems from me having difficulty assigning a roman numeral to a chord which either has a suspension (please see below)
Or when there is melodic motion in the bass (please see below)
In the first case (both examples in C major by the way), do we simply call this a vi chord and call it a day? Or, because the D in the soprano line is sounded, is this a viadd4 chord? Similarly, in the example with the C-D motion in the bass, is this just a I chord? Or is this a one chord that becomes something else--something that I wouldn't even know how to name?
theory harmony analysis roman-numerals
edited 2 days ago
replete
3,7971028
asked 2 days ago
286642286642
979
1
Note that without a preceding measure in view, we can only say that the D in the soprano is an appoggiatura, not a suspension.
– replete
2 days ago
What do you mean:*call it a day?*
– Albrecht Hügli
2 days ago
1
@AlbrechtHügli he is asking whether we should simply call it a vi chord and not to worry about it anymore.
– Shevliaskovic
2 days ago
So a day is actually derived of day = Tag (German)
– Albrecht Hügli
2 days ago
add a comment |
My question today stems from me having difficulty assigning a roman numeral to a chord which either has a suspension (please see below)
Or when there is melodic motion in the bass (please see below)
In the first case (both examples in C major by the way), do we simply call this a vi chord and call it a day? Or, because the D in the soprano line is sounded, is this a viadd4 chord? Similarly, in the example with the C-D motion in the bass, is this just a I chord? Or is this a one chord that becomes something else--something that I wouldn't even know how to name?
theory harmony analysis roman-numerals
edited 2 days ago
replete
3,7971028
asked 2 days ago
286642286642
979
My question today stems from me having difficulty assigning a roman numeral to a chord which either has a suspension (please see below)
Or when there is melodic motion in the bass (please see below)
In the first case (both examples in C major by the way), do we simply call this a vi chord and call it a day? Or, because the D in the soprano line is sounded, is this a viadd4 chord? Similarly, in the example with the C-D motion in the bass, is this just a I chord? Or is this a one chord that becomes something else--something that I wouldn't even know how to name?
theory harmony analysis roman-numerals
theory harmony analysis roman-numerals
edited 2 days ago
replete
3,7971028
asked 2 days ago
286642286642
979
edited 2 days ago
replete
3,7971028
asked 2 days ago
286642286642
979
edited 2 days ago
replete
3,7971028
edited 2 days ago
replete
3,7971028
edited 2 days ago
replete
3,7971028
3,7971028
asked 2 days ago
286642286642
979
asked 2 days ago
286642286642
979
asked 2 days ago
286642286642
979
979
1
Note that without a preceding measure in view, we can only say that the D in the soprano is an appoggiatura, not a suspension.
– replete
2 days ago
What do you mean:*call it a day?*
– Albrecht Hügli
2 days ago
1
@AlbrechtHügli he is asking whether we should simply call it a vi chord and not to worry about it anymore.
– Shevliaskovic
2 days ago
So a day is actually derived of day = Tag (German)
– Albrecht Hügli
2 days ago
add a comment |
1
Note that without a preceding measure in view, we can only say that the D in the soprano is an appoggiatura, not a suspension.
– replete
2 days ago
What do you mean:*call it a day?*
– Albrecht Hügli
2 days ago
1
@AlbrechtHügli he is asking whether we should simply call it a vi chord and not to worry about it anymore.
– Shevliaskovic
2 days ago
So a day is actually derived of day = Tag (German)
– Albrecht Hügli
2 days ago
1
1
Note that without a preceding measure in view, we can only say that the D in the soprano is an appoggiatura, not a suspension.
– replete
2 days ago
Note that without a preceding measure in view, we can only say that the D in the soprano is an appoggiatura, not a suspension.
– replete
2 days ago
What do you mean:*call it a day?*
– Albrecht Hügli
2 days ago
What do you mean:*call it a day?*
– Albrecht Hügli
2 days ago
1
1
@AlbrechtHügli he is asking whether we should simply call it a vi chord and not to worry about it anymore.
– Shevliaskovic
2 days ago
@AlbrechtHügli he is asking whether we should simply call it a vi chord and not to worry about it anymore.
– Shevliaskovic
2 days ago
So a day is actually derived of day = Tag (German)
– Albrecht Hügli
2 days ago
So a day is actually derived of day = Tag (German)
– Albrecht Hügli
2 days ago
add a comment |
1 Answer
1
active
oldest
votes
Actually, without seeing the preceding measure, there are quite a couple of things that might be going on in your first example (as @replete noted in the comments).
D is a non-chord tone and it could be a suspension, if the note D was played on the same voice on the previous measure and help for this one; you could call the chord a 'vi 4-3', because it's the 4th of the root that is the suspension and is resolved to the chord note, the third (in this case C).
It could be a passing tone on an accented beat, if the previous tone on the preceding measure was an E.
It could be an appoggiatura, which is a non-chord neighbor tone that is resolved stepwise.
On your second example, the D note is simply a passing tone, which isn't notated in some way. It's not on a strong beat of the measure, so unless something else is happening on the other voices as well, there is no need to change something in your analysis. This kind of passing tone is usually used when the voice is moving stepwise, so in your example, the next note will most likely be E.
answered 2 days ago
ShevliaskovicShevliaskovic
20.7k1381172
2
Perhaps worth adding that the 4-3 might be given in superscript aligned with the notes.
– replete
2 days ago
Thank you for the concise answer! And the next note does happen to be an E :)
– 286642
2 days ago
1
@replete you are correct; I updated my answer
– Shevliaskovic
2 days ago
Good answer. I didn’t know you call them passing tones also on strong beat. In German it would be Vorhalt (equal to approach or suspension)
– Albrecht Hügli
2 days ago
add a comment |
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Actually, without seeing the preceding measure, there are quite a couple of things that might be going on in your first example (as @replete noted in the comments).
D is a non-chord tone and it could be a suspension, if the note D was played on the same voice on the previous measure and help for this one; you could call the chord a 'vi 4-3', because it's the 4th of the root that is the suspension and is resolved to the chord note, the third (in this case C).
It could be a passing tone on an accented beat, if the previous tone on the preceding measure was an E.
It could be an appoggiatura, which is a non-chord neighbor tone that is resolved stepwise.
On your second example, the D note is simply a passing tone, which isn't notated in some way. It's not on a strong beat of the measure, so unless something else is happening on the other voices as well, there is no need to change something in your analysis. This kind of passing tone is usually used when the voice is moving stepwise, so in your example, the next note will most likely be E.
answered 2 days ago
ShevliaskovicShevliaskovic
20.7k1381172
2
Perhaps worth adding that the 4-3 might be given in superscript aligned with the notes.
– replete
2 days ago
Thank you for the concise answer! And the next note does happen to be an E :)
– 286642
2 days ago
1
@replete you are correct; I updated my answer
– Shevliaskovic
2 days ago
Good answer. I didn’t know you call them passing tones also on strong beat. In German it would be Vorhalt (equal to approach or suspension)
– Albrecht Hügli
2 days ago
add a comment |
Actually, without seeing the preceding measure, there are quite a couple of things that might be going on in your first example (as @replete noted in the comments).
D is a non-chord tone and it could be a suspension, if the note D was played on the same voice on the previous measure and help for this one; you could call the chord a 'vi 4-3', because it's the 4th of the root that is the suspension and is resolved to the chord note, the third (in this case C).
It could be a passing tone on an accented beat, if the previous tone on the preceding measure was an E.
It could be an appoggiatura, which is a non-chord neighbor tone that is resolved stepwise.
On your second example, the D note is simply a passing tone, which isn't notated in some way. It's not on a strong beat of the measure, so unless something else is happening on the other voices as well, there is no need to change something in your analysis. This kind of passing tone is usually used when the voice is moving stepwise, so in your example, the next note will most likely be E.
answered 2 days ago
ShevliaskovicShevliaskovic
20.7k1381172
2
Perhaps worth adding that the 4-3 might be given in superscript aligned with the notes.
– replete
2 days ago
Thank you for the concise answer! And the next note does happen to be an E :)
– 286642
2 days ago
1
@replete you are correct; I updated my answer
– Shevliaskovic
2 days ago
Good answer. I didn’t know you call them passing tones also on strong beat. In German it would be Vorhalt (equal to approach or suspension)
– Albrecht Hügli
2 days ago
add a comment |
Actually, without seeing the preceding measure, there are quite a couple of things that might be going on in your first example (as @replete noted in the comments).
D is a non-chord tone and it could be a suspension, if the note D was played on the same voice on the previous measure and help for this one; you could call the chord a 'vi 4-3', because it's the 4th of the root that is the suspension and is resolved to the chord note, the third (in this case C).
It could be a passing tone on an accented beat, if the previous tone on the preceding measure was an E.
It could be an appoggiatura, which is a non-chord neighbor tone that is resolved stepwise.
On your second example, the D note is simply a passing tone, which isn't notated in some way. It's not on a strong beat of the measure, so unless something else is happening on the other voices as well, there is no need to change something in your analysis. This kind of passing tone is usually used when the voice is moving stepwise, so in your example, the next note will most likely be E.
answered 2 days ago
ShevliaskovicShevliaskovic
20.7k1381172
Actually, without seeing the preceding measure, there are quite a couple of things that might be going on in your first example (as @replete noted in the comments).
D is a non-chord tone and it could be a suspension, if the note D was played on the same voice on the previous measure and help for this one; you could call the chord a 'vi 4-3', because it's the 4th of the root that is the suspension and is resolved to the chord note, the third (in this case C).
It could be a passing tone on an accented beat, if the previous tone on the preceding measure was an E.
It could be an appoggiatura, which is a non-chord neighbor tone that is resolved stepwise.
On your second example, the D note is simply a passing tone, which isn't notated in some way. It's not on a strong beat of the measure, so unless something else is happening on the other voices as well, there is no need to change something in your analysis. This kind of passing tone is usually used when the voice is moving stepwise, so in your example, the next note will most likely be E.
answered 2 days ago
ShevliaskovicShevliaskovic
20.7k1381172
edited 2 days ago
answered 2 days ago
ShevliaskovicShevliaskovic
20.7k1381172
answered 2 days ago
ShevliaskovicShevliaskovic
20.7k1381172
answered 2 days ago
ShevliaskovicShevliaskovic
20.7k1381172
20.7k1381172
2
Perhaps worth adding that the 4-3 might be given in superscript aligned with the notes.
– replete
2 days ago
Thank you for the concise answer! And the next note does happen to be an E :)
– 286642
2 days ago
1
@replete you are correct; I updated my answer
– Shevliaskovic
2 days ago
Good answer. I didn’t know you call them passing tones also on strong beat. In German it would be Vorhalt (equal to approach or suspension)
– Albrecht Hügli
2 days ago
add a comment |
2
Perhaps worth adding that the 4-3 might be given in superscript aligned with the notes.
– replete
2 days ago
Thank you for the concise answer! And the next note does happen to be an E :)
– 286642
2 days ago
1
@replete you are correct; I updated my answer
– Shevliaskovic
2 days ago
Good answer. I didn’t know you call them passing tones also on strong beat. In German it would be Vorhalt (equal to approach or suspension)
– Albrecht Hügli
2 days ago
2
2
Perhaps worth adding that the 4-3 might be given in superscript aligned with the notes.
– replete
2 days ago
Perhaps worth adding that the 4-3 might be given in superscript aligned with the notes.
– replete
2 days ago
Thank you for the concise answer! And the next note does happen to be an E :)
– 286642
2 days ago
Thank you for the concise answer! And the next note does happen to be an E :)
– 286642
2 days ago
1
1
@replete you are correct; I updated my answer
– Shevliaskovic
2 days ago
@replete you are correct; I updated my answer
– Shevliaskovic
2 days ago
Good answer. I didn’t know you call them passing tones also on strong beat. In German it would be Vorhalt (equal to approach or suspension)
– Albrecht Hügli
2 days ago
Good answer. I didn’t know you call them passing tones also on strong beat. In German it would be Vorhalt (equal to approach or suspension)
– Albrecht Hügli
2 days ago
add a comment |
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Note that without a preceding measure in view, we can only say that the D in the soprano is an appoggiatura, not a suspension.
– replete
2 days ago
What do you mean:*call it a day?*
– Albrecht Hügli
2 days ago
1
@AlbrechtHügli he is asking whether we should simply call it a vi chord and not to worry about it anymore.
– Shevliaskovic
2 days ago
So a day is actually derived of day = Tag (German)
– Albrecht Hügli
2 days ago