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Roman Numeral Treatment of Suspensions


Harmony 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)













4















My question today stems from me having difficulty assigning a roman numeral to a chord which either has a suspension (please see below)



enter image description here



Or when there is melodic motion in the bass (please see below)



enter image description here



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







share|improve this question



















  • 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
















4















My question today stems from me having difficulty assigning a roman numeral to a chord which either has a suspension (please see below)



enter image description here



Or when there is melodic motion in the bass (please see below)



enter image description here



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







share|improve this question



















  • 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














4












4








4








My question today stems from me having difficulty assigning a roman numeral to a chord which either has a suspension (please see below)



enter image description here



Or when there is melodic motion in the bass (please see below)



enter image description here



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







share|improve this question
















My question today stems from me having difficulty assigning a roman numeral to a chord which either has a suspension (please see below)



enter image description here



Or when there is melodic motion in the bass (please see below)



enter image description here



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






share|improve this question















share|improve this question













share|improve this question




share|improve this question








edited 1 hour ago









replete

3,787928




3,787928










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













  • 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











1 Answer
1






active

oldest

votes


















4














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.






share|improve this answer




















  • 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










Your Answer








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1 Answer
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1 Answer
1






active

oldest

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active

oldest

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active

oldest

votes









4














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.






share|improve this answer




















  • 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















4














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.






share|improve this answer




















  • 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













4












4








4







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.






share|improve this answer















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.







share|improve this answer














share|improve this answer



share|improve this answer








edited 1 hour ago

























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












  • 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

















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