Roman Numeral Treatment of SuspensionsHarmony and roman numeral analysis: how to deal with chromaticism?Roman...
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Roman Numeral Treatment of Suspensions
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Roman Numeral Treatment of Suspensions
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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 1 hour ago
replete
3,787928
asked 1 hour ago
286642286642
1758
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 1 hour ago
replete
3,787928
asked 1 hour ago
286642286642
1758
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
1 hour 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 1 hour ago
replete
3,787928
asked 1 hour ago
286642286642
1758
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 1 hour ago
replete
3,787928
asked 1 hour ago
286642286642
1758
edited 1 hour ago
replete
3,787928
asked 1 hour ago
286642286642
1758
edited 1 hour ago
replete
3,787928
edited 1 hour ago
replete
3,787928
edited 1 hour ago
replete
3,787928
3,787928
asked 1 hour ago
286642286642
1758
asked 1 hour ago
286642286642
1758
asked 1 hour ago
286642286642
1758
1758
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
1 hour 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
1 hour 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
1 hour 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
1 hour ago
add a comment |
1 Answer
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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 1 hour ago
ShevliaskovicShevliaskovic
20.4k1380170
2
Perhaps worth adding that the 4-3 might be given in superscript aligned with the notes.
– replete
1 hour ago
Thank you for the concise answer! And the next note does happen to be an E :)
– 286642
1 hour ago
1
@replete you are correct; I updated my answer
– Shevliaskovic
1 hour 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 1 hour ago
ShevliaskovicShevliaskovic
20.4k1380170
2
Perhaps worth adding that the 4-3 might be given in superscript aligned with the notes.
– replete
1 hour ago
Thank you for the concise answer! And the next note does happen to be an E :)
– 286642
1 hour ago
1
@replete you are correct; I updated my answer
– Shevliaskovic
1 hour 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 1 hour ago
ShevliaskovicShevliaskovic
20.4k1380170
2
Perhaps worth adding that the 4-3 might be given in superscript aligned with the notes.
– replete
1 hour ago
Thank you for the concise answer! And the next note does happen to be an E :)
– 286642
1 hour ago
1
@replete you are correct; I updated my answer
– Shevliaskovic
1 hour 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 1 hour ago
ShevliaskovicShevliaskovic
20.4k1380170
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 1 hour ago
ShevliaskovicShevliaskovic
20.4k1380170
edited 1 hour ago
answered 1 hour ago
ShevliaskovicShevliaskovic
20.4k1380170
answered 1 hour ago
ShevliaskovicShevliaskovic
20.4k1380170
answered 1 hour ago
ShevliaskovicShevliaskovic
20.4k1380170
20.4k1380170
2
Perhaps worth adding that the 4-3 might be given in superscript aligned with the notes.
– replete
1 hour ago
Thank you for the concise answer! And the next note does happen to be an E :)
– 286642
1 hour ago
1
@replete you are correct; I updated my answer
– Shevliaskovic
1 hour ago
add a comment |
2
Perhaps worth adding that the 4-3 might be given in superscript aligned with the notes.
– replete
1 hour ago
Thank you for the concise answer! And the next note does happen to be an E :)
– 286642
1 hour ago
1
@replete you are correct; I updated my answer
– Shevliaskovic
1 hour ago
2
2
Perhaps worth adding that the 4-3 might be given in superscript aligned with the notes.
– replete
1 hour ago
Perhaps worth adding that the 4-3 might be given in superscript aligned with the notes.
– replete
1 hour ago
Thank you for the concise answer! And the next note does happen to be an E :)
– 286642
1 hour ago
Thank you for the concise answer! And the next note does happen to be an E :)
– 286642
1 hour ago
1
1
@replete you are correct; I updated my answer
– Shevliaskovic
1 hour ago
@replete you are correct; I updated my answer
– Shevliaskovic
1 hour 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
1 hour ago